


The Widow in Winter: a Black Widow Movie

by waittherespie



Category: Black Widow (Comics), Captain America (Movies), Marvel, Marvel Cinematic Universe, The Avengers (Marvel Movies)
Genre: #WheresMyBlackWidowMovie, 'cause it's her movie, Asian Widows, Canon-Typical Violence, Canon-atypical violence, Car Chases, Cuban Widows, Explosions, F/M, Fires, Fist Fights, Gun fights, Lesbian Widows, Memory Loss, Nat and Bucky working together to uncover spy secrets, Natasha's not the only graduate of the Red Room, Post-Black Panther (2018), Pre-Black Panther end credits scene, Pre-Infinity War, Red Room, Russia, Screenplay/Script Format, Trans Widows, Wakanda, boat chases, but the story is Natasha-centric, cryo-sleep Bucky, death warning, good ol' super spy stuff like that, inspired by the two most recent runs of Black Widow comics, other Black Widows are out there, plus a bit of Brubaker's Winter Soldier Books, slow burn 2: the reburnening, soviet spies, suicide warning, there's African Widows, trash fights, very slow rekindling of a previous burn
Language: English
Status: Completed
Published: 2017-06-09
Updated: 2018-05-03
Packaged: 2018-11-09 00:09:30
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 2
Words: 49,997
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11092800
Author URL: https://archiveofourown.org/users/waittherespie/pseuds/waittherespie
Summary: Since the events of Civil War, Natasha Romanoff has been living in hiding and working independently as a spy for hire. But her past comes back to haunt her when the former Headmistress of the Red Room is released from prison. Madame Belova deploys her remaining loyal pupils to hunt down the Black Widow’s secret — a secret Natasha herself cannot remember. Now Nat must seek out the Winter Soldier to recover her past and save her future.





	1. Screenplay format (desktop)

**Author's Note:**

> I wanted to write a feature-length screenplay that delves deeper into Natasha's (and Bucky's) backstory without being a true "origin story." It's high stakes, big fights, and dark secrets. A classic spy thriller with a superhero twist. #WheresMyBlackWidowMovie
> 
> This story is MCU canon-compliant but heavily inspired by the comics. It takes place sometime between Black Panther and the Black Panther end-credits scene.
> 
> Screenplay format in Chapter 1. Mobile-friendly format in Chapter 2.

**Summary for the Chapter:**

> If you're reading this on desktop, read this chapter.
> 
> If you're on mobile, read Chapter 2.
> 
> Both chapters have the entire script, but the "proper" screenplay format doesn't look good on mobile and can be hard to read. Thanks!
    
    
                   INT. DUBAI HOTEL - ROOM 2400 - DAY
    
                   Tight focus on a SPIDER, peacefully spinning its web.
    
                   A woman's FACE appears behind it, inching closer until --
    
                   BLACK -- then a feather duster pulls back, revealing the
                   spider and its web tangled up in it.
    
                   The face, clearer now: a MAID, late 40s, squints at the dead
                   arachnid.
    
                   She works in a luxury hotel room, a supply cart next to her. 
                   She hums a little tune to herself while she cleans.
    
    
    
                   INT. DUBAI HOTEL - HALLWAY - DAY
    
                   The maid closes the hotel room door behind her.
    
                   A TOURIST stops by the cart as she turns around.
    
                                       TOURIST
                             May I have an extra towel?
    
                   The maid simply nods and reaches down to grab a towel.
    
                   That's when she sees a BUSINESSMAN exit a room a few doors
                   down - #2407. 
    
                   He talks in Arabic on his mobile and walks in the opposite
                   direction.
    
                   The tourist mumbles his thanks and moves on.
    
                   The maid's eyes follow the businessman until he turns the
                   corner. 
    
                   Then she pushes the cart past the other rooms to #2407.
    
                   A KEY CARD dips into the slot and the light blinks green.
    
    
    
                   INT. DUBAI HOTEL - ROOM 2407 - DAY
    
                   Inside, she tosses towels haphazardly from her cart onto the
                   carpet, still humming her song.
    
                   She pauses, as if puzzled by the tune, like she can't
                   remember how it goes. She corrects her notes and keeps
                   humming.
    
                   Then she uncovers a black metal SUITCASE and pops it open.
    
                   Handguns, wires, and electronics fill the case.
    
                   CLOSE UP SHOTS OF:
    
                   -- The woman's hands loading the GUN.
    
                   -- Her maid UNIFORM dropping to the floor.
    
                   -- Black FABRIC rolling up her leg.
    
                   -- A metal BELT clicking closed.
    
                   -- Metal CUFFS snapping over her wrists.
    
                   And at the mirror over the dresser -- her gloved hands
                   simultaneously peel away her electrostatic veil and pull off
                   her wig, revealing 
    
                   NATASHA ROMANOFF - the BLACK WIDOW - with bright red hair and
                   a dangerous look in her eye.
    
    
    
                   INT. DUBAI HOTEL - ROOM 2407 - DAY - A LITTLE LATER
    
                   STREET SOUNDS flow in from outside and mix with the news
                   station on the TELEVISION.
    
                   The Businessman enters, looks up from his mobile screen. 
    
                   Natasha lounges on the bed, ankles crossed, munching on chips
                   and sipping some fancy water from the mini bar.
    
                   Shocked, the man fumbles for a 9mm handgun concealed inside
                   his jacket. She's unconcerned with his shaky aim.
    
                                       BUSINESSMAN
                             I already told the Saudis no deal --
    
                                       NATASHA
                             I don't work for the Saudis.
    
                   She whips out her own phone and starts texting. Swings her
                   legs over the edge of the bed.
    
                                       BUSINESSMAN
                             Then whoever it is --
    
                                       NATASHA
                             I'm here to help you, Mr. Kjevick.
                             If you'll just cooperate this will
                             all go smoothly.
    
                   Seams on her high-tech catsuit light up as she adjusts her
                   Widow's Bite wrist cuffs. She slides on a black BACKPACK.
    
                                       MR. KJEVICK
                                 (voice breaking)
                             Are they going to kill me?
    
                   She points to a KEVLAR VEST hanging on a chair.
    
                                       NATASHA
                             Well, that thing's not for me. Our
                             ride ought to be here in five.
    
                   Natasha steps to the window. There's a lock mechanism on one
                   side of the frame. She slides out a tiny SCREWDRIVER from her
                   cuff and breaks the lock, pushes the window open.
    
                   A breeze blows the sheer curtains across her face -- _wait,
                   what was that?_ 
    
                   She stops, squints. For a split second the curtains change --
    
                   FLASH OF MEMORY
    
                   -- Pale fabric fluttering in the air -- but something's
                   different...
    
                   The color is warmer. The frame blurry around the edges. The
                   sound of wind, softer. In the background, music...?
    
                   BACK TO PRESENT
    
                   -- And just like that, gone. Natasha frowns, shakes her head.
    
                   She leans out the window and looks down dozens of stories to
                   the street.
    
                                       MR. KJEVICK
                             Who -- who are you?
    
                   She turns back to see him struggling to fit his hand through
                   the armhole of the vest while still holding his gun.
    
                                       NATASHA
                             You don't need to know who I am.
    
                   Noise from a distant HELICOPTER makes her eyes narrow.
    
                                       NATASHA
                                 (under her breath)
                             That was fast.
    
                   She looks out the window, adjusting her backpack straps.
    
                   A MILITARY HELICOPTER
    
                   looms in the sky nearing the hotel.
    
                   A KNOCK at the door. Kjevick flinches.
    
                                       NATASHA
                             Ignore it. And put that thing away.
    
                   With trembling hands, he tucks the gun in his vest.
    
                   She dons a pair of tactical GOGGLES that cover half her face.
    
                   Through the goggles she zooms in on the chopper flying
                   closer. Nat presses her phone to her ear.
    
                   Another KNOCK. Louder. 
    
                   The man looks back and forth from window to door.
    
                                       NATASHA
                                 (into the phone)
                             Antoine?
    
                   The helicopter now hovers several meters out from the window.
    
                   BANGING at the door.
    
                                       NATASHA
                             Antoine? What are you doing? That's
                             way too low!
    
                   The helicopter rotates. She sees a MERCENARY in the open
                   side point a MACHINE GUN.
    
                   Nat drops her phone.
    
                                       NATASHA
                             GET DOWN!
    
                   Natasha sprints, dives, knocking the man to the floor.
    
                   And from behind -- a masked, blonde ASSASSIN kicks in the
                   door, aims a GRENADE LAUNCHER, and FIRES.
    
                   The grenade zooms through the open window --
    
                   SMACK into the side of the helicopter -- BOOM!
    
                   Natasha races to the ledge: flames, smoke, screaming
                   civilians, the whole nine yards.
    
                   Instinctively, Nat dodges the FOOT about to kick
                   her in the face.
    
                   She grabs the foot's leg. Rolls over, twisting the assassin
                   with her.
    
                   They FIGHT -- limbs flying, glass breaking, the man cowering
                   in the fetal position on the floor.
    
                   The assassin's got Nat by the head as they spin around,
                   Natasha's feet dancing up along the wall.
    
                   Nat pulls a length of WIRE from her cuffs, flips off the bed.
    
                   She wraps the wire around the stranger's neck from behind and
                   pins the blonde against the dresser. 
    
                   The assassin reaches back, SNAPS off Natasha's goggles. Both
                   women look
    
                   IN THE MIRROR.
    
                   Natasha freezes. Releases the wire. Steps back.
    
                   SHARON CARTER rubs her neck. Turns around.
    
                                       NATASHA
                             Agent Carter?
    
                                       SHARON
                             Romanoff. I should have known by
                             the red hair. Do you want to explain
                             what's going on here?
    
                   Natasha eyes the stunned man still huddled on the ground.
    
                                       NATASHA
                             Asset transport. Private contract.
    
                                       SHARON
                             Is that what you've been doing this
                             past year? Independent contracting?
                             Pretty high profile for someone
                             who's wanted by at least three
                             different intelligence agencies.
    
                                       NATASHA
                                 (with a shrug)
                             A girl's gotta eat. You still with
                             the CIA?
    
                                       SHARON
                             Interpol. We knew about the Saudis.
                             You, though, that was an unknown.
                             You're lucky we got here in time.
    
                                       NATASHA
                             _Lucky_? I've seen worse. By the way,
                             since when did grenade launchers
                             become standard set up for you
                             guys?
    
                                       SHARON
                             They're not. I come prepared.
    
                   They share a smile like two old friends.
    
                                       SHARON
                             Want to tell me who hired you?
    
                                       NATASHA
                             Doesn't matter. Besides, I don't
                             think they ever had any intention
                             of paying. He's all yours.
    
                   Her boot heel presses into the man's back, keeping him from
                   crawling away.
    
                                       SHARON
                             Natasha, you got me in a bad spot
                             here but I can cut you a deal. I'll
                             let you go but you have to send me
                             anything and everything you know
                             about your contractor.
    
                                       NATASHA
                             Agreed. Consider it my apology.
    
                   Natasha gathers her supplies, adjusts her backpack straps.
    
                                       SHARON
                                 (pointing to the door)
                             You probably don't want to go out
                             that way.
    
                                       NATASHA
                             Wasn't planning on it.
    
                   With a running start, she vaults out of the window into --
    
    
    
                   EXT. DUBAI STREET - DAY
    
                   -- the open air, diving through a cloud of thick smoke. 
    
                   Her PARACHUTE opens and carries her gently down the fifty or
                   so stories to the street.
    
                   ONLOOKERS gather at the crashed chopper behind her. PEOPLE
                   part to let her land. 
    
                   She strides down the sidewalk with purpose, dropping the
                   backpack while wrapping her head in a black scarf.
    
                   Even in her Widow suit, Natasha blends into the crowd.
                   Everyone is too distracted by the confusion of the crash to
                   notice another tourist.
    
    
    
                   EXT. SIBERIAN PRISON - DAY
    
                   A rusty 80s Lada sedan sits parked in a gravel lot outside
                   a Soviet-era prison.
    
                   Three young women, bored, lingering by the car:
    
                   KATYA, pale with long dark hair, chews gum, blows a big fat 
                   bubble. Pop music spills out of her earbuds. Next to her,
    
                   TANYA, African, scar on her chin, inspects her manicure.
    
                   VERA, light brown skin, plays a candy-colored game on her
                   phone in the backseat.
    
    
    
                   INT. SIBERIAN PRISON - PROCESSING AREA - DAY
    
                   ANYA, Russian, early 30s, blonde hair tied up in a bun, waits
                   in front of a barred window in the guest area of the prison.
                   She taps a foot impatiently but her face betrays no emotion.
    
                   Behind the bars, a SURLY GUARD sorts through a plastic box
                   full of pill bottles. He reads the label on each, then passes
                   them through the slot in the bars. He speaks in Russian.
    
                                       SURLY GUARD
                             Don't know why we bothered. She
                             won't last more than a month at
                             this rate.
    
                   The pile of pills keeps growing. A twinge of surprise on
                   Anya's face. Anger, shock? Then it disappears.
    
                                       SURLY GUARD
                             Early release, huh? Guess they'd
                             rather not deal with her anymore.
    
                   Metal doors CLANG open at the back of the room. An
                   OVERWEIGHT GUARD pushes a wheelchair toward her.
    
                   In the chair: MADAME BELOVA, but to Anya, she's "Mother."
    
                   Anya's severe facade vanishes at the sight of her: withered,
                   gray, clear tubes running to her nose from an oxygen tank.
    
                   Belova's steely eyes strain to look at her. Anya straightens
                   up again, resolved.
    
    
    
                   EXT. SIBERIAN PRISON - DAY
    
                   Katya taps Tanya with the back of her hand. They both watch
                   Anya pushing Belova's wheelchair toward the car. 
    
                   Like Anya, they're surprised to see her so frail.
    
    
    
                   INT./EXT. LADA - SIBERIAN PRISON - DAY - A LITTLE LATER
    
                   Tanya, Katya, and Vera squeeze shoulder to shoulder in the
                   backseat like children on holiday.
    
                   Anya starts the engine, turns to Belova next to her. The old
                   woman looks straight ahead, exhausted, but brewing with rage.
    
                                       BELOVA
                             Take me home.
    
                   The little car drives out of the parking lot.
    
    
    
                   EXT. PRAGUE - QUIET NEIGHBORHOOD STREET - NIGHT
    
                   Natasha crosses the tree-lined street to her apartment
                   building. It's one of those old, stately pre-war homes that
                   was later converted into multiple flats.
    
                   She stops at the MAILBOXES by the door and unlocks one.
    
                   She hears a MEOW and looks down.
    
                   A scrawny black CAT encircles her legs, peering up at her.
    
                                       NATASHA
                             Shoo.
    
                   She flips through the mail. Grocery flyers, bills, junk mail
                   and a red ENVELOPE. 
    
                   Nat reads it closely in the dim light. It is addressed to
                   "NATALIA ROMANOVA."
    
                   No return address, just "M.P." handwritten in the corner. 
    
                   Postmarked from --
    
                                       NATASHA
                                 (softly)
                             Cuba?
    
                   MEOW. She glances behind her. No one on the street.
    
                   MEOW. Her foot nudges the cat away and she stabs her key into
                   the entry lock.
    
                   The cat sneaks in after her as she steps inside, peeling open
                   the letter.
    
    
                   INT. NATASHA'S APARTMENT - NIGHT
    
                   BRRRINNGGG
    
                   In the dark, Nat sits at the edge of an armchair. Nervous
                   knees bobbing up and down.
    
                   BRRRINNGGG
    
                   It's a studio apartment. Streetlight seeping in over the
                   balcony casts shadows on sparse furniture and blank walls.
    
                   BRRRINNGGG
    
                   She holds the letter in one hand, her phone in the other.
    
                   CLICK
    
                                       MARINA (V.O.)
                             Bueno?
    
                                       NATASHA
                             Marina?
    
                                       MARINA (V.O.)
                                 (in Russian)
                             Who is this?
    
                                       NATASHA
                             I got your letter.
    
                                       MARINA (V.O.)
                             Natasha! Yes, it's me, Marina.
    
                   Nat sinks back into the chair, relieved.
    
                                       NATASHA
                             Where are you?
    
                                       MARINA (V.O.)
                             Havana. I've been here awhile. It's
                             beautiful. How about you? Are you
                             safe?
    
                   The little black cat paces at the balcony door.
    
                                       NATASHA
                             For now. 
    
                   Nat gets up to open the door but the cat doesn't budge.
    
                                       MARINA (V.O.)
                             Are you still working for the
                             Americans or...?
    
                   She waves her hand, motioning for the cat to leave.
    
                                       NATASHA
                             Not lately.
    
                                       MARINA (V.O.)
                             Natasha, it's been so long. I've
                             missed you.
    
                   Finally, the cat goes outside and Nat shuts the door.
    
                                       NATASHA
                             Me, too.
    
    
    
                   EXT. SKY OVER CUBA - DAY
    
                   An airliner soars above the island.
    
    
    
                   EXT. HAVANA AIRPORT - DAY
    
                   MARINA (pretty, smiling, Cuban, about Natasha's age) jumps
                   from the back of a taxi waiting near the terminal.
    
                                       MARINA
                             Natushka!
    
                   Natasha swings her arms out to hug Marina.
    
                   They embrace, tightly, for a long time until the cabbie HONKS
                   his horn. Then they load into the backseat.
    
    
    
                   INT. MARINA'S APARTMENT - DAY
    
                   Natasha drops her bag when they enter the quaint little
                   one-bedroom apartment.
    
                                       NATASHA
                             Come to think of it, I haven't had
                             a real vacation in years.
    
                                       MARINA
                             Well, I aim to remedy that! Let us
                             begin your adventure. Now, the
                             apartment is lousy, and full of
                             roaches, but it does have one thing
                             going for it...
    
                   She whips open the curtains before the balcony doorway.
    
                                       MARINA
                             You must admit, Russia has nothing
                             like this.
    
                   A genuine smile spreads across Natasha's face as she gazes
                   upon hundreds of rooftops stretching out to the sea.
    
    
    
                   EXT. HAVANA - DAY/NIGHT - MONTAGE
    
                   Shots of Marina and Natasha 
    
                   -- riding beach cruisers along the STREETS OF HAVANA
    
                   -- sitting on a PARK BENCH eating street food, while old men
                   play chess nearby
    
                   -- shopping at the outdoor MARKET. Marina wraps a colorful
                   scarf around Natasha's neck.
    
                   -- sipping fruity cocktails, watching a band play at a BAR.
    
                   -- lounging in chairs on Marina's BALCONY at dawn, peaceful.
                   Natasha looks over at Marina dozed off in her seat. 
    
                   END MONTAGE
    
    
    
                   EXT. HAVANA - QUIET BEACH - DAY
    
                   Natasha and Marina relax in the shade away from the water.
    
                                       MARINA
                             You know, you're the only one I
                             convinced to visit me.
    
                                       NATASHA
                             They are clearly missing out.
    
                                       MARINA
                                 (with a sigh)
                             I don't think they trust me.
    
                                       NATASHA
                             You'd think with Madame Belova in
                             prison and the Red Room dismantled,
                             the girls would feel safer by now.
    
                                       MARINA
                             Oh, you must not have heard,
                             Belova's been released!
    
                   This gets Natasha's attention.
    
                                       MARINA
                             It wasn't publicized, naturally.
                             Anya told me in a letter. It
                             happened a few months ago. She said
                             the old woman's ill. Probably
                             doesn't have long to live.
    
                                       NATASHA
                                 (rolling her eyes)
                             Can't say I feel bad about that.
    
                                       MARINA
                             Speaking of Anya, she asked about
                             you, in particular --
    
                                       NATASHA
                             -- You didn't tell her where I -- ?
    
                                       MARINA
                             -- Of course not! I mean, she is
                             one of us, yes, but she's still the
                             Headmistress' daughter after all.
    
                   Natasha scoffs, looks away.
    
                                       MARINA
                             Come now, have you ever had
                             pescado asado? My specialty. I'm
                             making it for you tonight!
    
                   Marina hops up and holds a hand out for Nat. She takes it.
    
    
    
                   INT. MARINA'S APARTMENT - LATE AFTERNOON
    
                   Marina cooks in the kitchen while Natasha sits on the sofa,
                   hunched over the coffee table, sipping from a wine glass.
    
                   Laid out before her are LETTERS, PHOTOS stored in a SHOEBOX.
    
                                       MARINA
                             It took years but I managed to
                             track down most of the surviving
                             graduates. Sonja -- excuse me,
                             Sister Sophia gave me your address.
    
                   Natasha lifts a picture of a black WOMAN in a nun's habit
                   surrounded by children.
    
                                       NATASHA
                             I, uh, yeah... I'm helping her with
                             a project so we've kept in touch.
    
                   She sifts through photos: some are shots of women on the
                   street, taken by a covert photographer. Others are selfies.
                   And a WEDDING PHOTO: two women in white, holding flowers.
    
                   A SPIDER catches her eye as it scurries out of the shoebox.
    
                   Natasha raises the box lid, ready to strike when Marina
                   appears, blocking the lid with her arm.
    
                   Instead, Marina guides the spider onto a photo of Anya.
    
                                       MARINA
                             I'm told the Cuban government used
                             to experiment on these spiders in
                             the 50s.
    
                   Nat smiles at the thought of this former assassin going out
                   of her way to save a tiny life.
    
                   Marina escorts the spider to the balcony and it disappears
                   over the edge. Marina stands, gazing out at the horizon.
    
                                       MARINA
                             I cannot say what you could
                             possibly learn from a spider, other
                             than it is deadly.
    
                   Natasha's smile fades.
    
                                       MARINA
                             I came from here, you know? An
                             orphan.
    
                                       NATASHA
                             Makes sense. It must have been easy
                             to take kids from other communist
                             countries.
    
                                       MARINA
                             Take them. Train them. Brainwash
                             them and return them as spies.
                             They'd blend in perfectly.
    
                                       NATASHA
                             Is this what you wanted? To come
                             back home? To feel Cuban?
    
                   Marina turns around, back to the city, arms gripping the
                   railing, her cheery exterior vanished.
    
                                       MARINA
                             Don't be absurd, Natasha. I am as
                             Russian as you are. No, after the
                             Red Room closed, for the first time
                             I felt that I could go anywhere I
                             wanted. But the destination is
                             irrelevant. It is the choice itself
                             that matters. In the Red Room, it
                             never mattered what I _wanted_. We
                             never even had the _option_ to want.
                             We did so many horrible things
                             because we believed we had no
                             choice! Imagine if we could have
                             chosen for ourselves then as we do
                             now! What kind of life would you
                             have led instead?
    
                   Natasha shrugs and sips her wine.
    
                                       NATASHA
                             I try not to think about that. My
                             life is what it is. And now it's in
                             the past.
    
                                       MARINA
                             Well, I am certainly glad to be rid
                             of the Red Room. The day I left I
                             made a vow: every choice I make
                             from now on will be my own, until I
                             choose to make no more.
    
                   Nat gets up to stand beside Marina. Gives her a gentle nudge
                   on the shoulder, smiles.
    
                                       NATASHA
                             The Red Room wasn't all bad. At
                             least we found each other.
    
                                       MARINA
                             At least that.
    
                   Together they watch the sunset.
    
    
    
                   EXT. MARINA'S APARTMENT - THE NEXT DAY
    
                   Outside the front door, Marina hugs Natasha goodbye.
    
                   After, Marina hands Nat the shoebox.
    
                                       MARINA
                             I want you to take this.
    
                                       NATASHA
                             What for? All these letters were
                             written to you.
    
                   Marina presses the box to Natasha's stomach, forcing her to
                   hold it, but she doesn't let go. Not yet. Her eyes pleading.
    
                                       MARINA
                             Promise me you'll keep in touch?
    
                                       NATASHA
                             Of course, but --
    
                                       MARINA
                             With all of them? You need each
                             other. No one else understands. 
    
                                       NATASHA
                             Uh, you've been doing a fine job of
                             that so far. Why me, why now?
    
                                       MARINA
                             There were twenty-eight of us once.
                             Now there are only ten. How long
                             until there are none? 
    
                                       NATASHA
                             Yeah, well, we've never had the
                             privilege of especially long lives.
    
                   Natasha lowers her gaze to the box, unsure. How can she say
                   no to her friend, practically her sister?
    
                                       NATASHA
                             Okay.
    
                                       MARINA
                             Thank you.
    
                   She holds Natasha's face in her hands and kisses her cheek.
                   When she pulls away Natasha looks worried but Marina smiles
                   sweetly.
    
    
    
                   INT./EXT. TAXI - DAY - TRAVELLING
    
                   Nat waves to Marina from her taxi as it drives downhill away
                   from the apartment.
    
    
    
                   INT. HAVANA AIRPORT - DAY
    
                   Natasha waits at the gate, bag at her feet, the shoebox in
                   the seat next to her.
    
                   She nervously checks her phone. Several times. Sends a quick
                   text to Marina.
    
                   A FLIGHT ATTENDANT speaks over the loudspeaker.
    
                                       FLIGHT ATTENDANT
                                 (in Spanish, then English)
                             We regret to announce that flight
                             1027 to Frankfurt has been delayed.
    
                   Nat glances up from her phone then back down. Dials Marina.
    
                   It RINGS. No answer. She hangs up.
    
                   She places the shoebox in her lap. Her eyes drift to the
                   DEPARTURES SCREEN. "FLIGHT DELAYED."
    
                   BACK AT NAT'S SEAT
    
                   She's gone.
    
    
    
                   EXT. HAVANA - MARKET STREET - DAY
    
                   Natasha carries her bag through the crowded market, lumbering
                   back up the hill to Marina's place, shoebox under her arm.
    
                   She doesn't notice a BLONDE WOMAN, wearing a hat and
                   sunglasses, turn and watch her as she passes.
    
    
    
                   EXT. MARINA'S APARTMENT - DAY
    
                   Marina doesn't answer the KNOCK on her door. Nat BANGS
                   louder. 
    
                                       NATASHA
                             Marina? It's Natasha. Open up.
    
                   She spots an open window near the door. Her forehead
                   scrunches up, wondering. _Was that open before?_
    
    
    
                   INT. MARINA'S APARTMENT - DAY
    
                   Inside it's quiet. Nat leaves her things by the window.
    
                   She takes a step forward. CREAK.
    
                   Nat hesitates. Presses her foot into the floor. No sound.
    
                                       NATASHA
                             Marina? You home?
    
                   Nat creeps lightly through the apartment to the
    
                   BEDROOM
    
                   Where Marina lies on her side on the bed. Mouth slightly
                   agape. One wrist HANDCUFFED to the bed post. 
    
                   A clear glass medicine bottle and syringe on the nightstand.
    
                                       NATASHA
                                 (just a whisper)
                             Oh, no, Marina...
    
                   Natasha checks for a pulse. None. 
    
                   She manages to hold it together but she's angry, distraught,
                   guilty even. She should have known...
    
                   Then something moves in her friend's mouth. She bends over to
                   get a closer look. 
    
                   A SPIDER crawls out and over Marina's chin. Nat lurches back.
    
                   The spider wriggles over the bed sheet. 
    
                   Another CREAK. But Nat is standing perfectly still. 
    
                   The spider lowers by a thread to the floor.
    
                   Natasha lifts her right foot and CRUNCH. 
    
                   She slowly raises her foot behind her, bends her ankle and
                   leans back slightly to glimpse the smooshed spider. 
    
                   Then she KICKS backward, hitting ANYA in the stomach. 
    
                   Anya tumbles back into the closet she had been hiding in.
    
                   The woman rights herself, brushing back her blonde hair.
    
                                       NATASHA
                             Anya.
    
                                       ANYA
                             Natasha.
    
                   Natasha launches at her, not with graceful and efficiently
                   calculated moves, but with rage and brutal power.
    
                   The two tear up the tiny apartment as they fight. Nat's not
                   at her best. She's emotionally compromised and Anya knows it.
    
                   Anya holds out a gun and Nat kicks. It flies out the window.
    
                   The blonde switches to a knife. Nicks Nat's leg. 
    
                   Natasha uses everything at her disposal -- frying pans,
                   potted plants, flimsy wooden chairs -- to defend herself.
    
                                       NATASHA
                             She was one of us! Why kill her?
    
                                       ANYA
                             She did it herself. You know that.
    
                   It's true but Natasha doesn't want to believe it. 
    
                   Anya makes a break for it, grabbing the box of letters and
                   leaping elegantly off the balcony.
    
    
    
                   EXT. HAVANA STREETS - DAY
    
                   Natasha drops onto a tile roof below, scans the scene. Sees
                   Anya running away. 
    
                   Nat leaps over rooftops and jumps down into a dirty alley.
                   When she turns a corner she's back in 
    
                   THE MARKET
    
                   People mill around, shopping. Natasha searches frantically.
    
                   She spots Anya, standing by a scarf vendor. Anya teases
                   Natasha with a wave then snatches a hanging scarf -- just
                   like the one Natasha bought -- and wraps it around her head.
    
                   Then Anya disappears. 
    
                   Every few moments Nat glimpses the colorful scarf only to
                   loose it again in a sea of people.
    
                   Frustrated, she climbs onto the roof of a car to get a better
                   vantage point. The DRIVER sticks his head out to yell at her.
    
                   There's the scarf again. Anya's grinning. They lock eyes.
    
                                       NATASHA
                                 (to herself)
                             You wanna play it this way? Fine.
    
                   Anya watches Natasha hop off the car and stroll through a
                   gate into a small private courtyard. Her face turns to steel.
    
                   Taking the bait, Anya follows Natasha. But passing the gate,
                   she climbs a nearby fire escape up one story and steps --
    
    
    
                   EXT. HAVANA COURTYARD - DAY
    
                   -- onto the roof. Anya leans over the edge. No one's in the
                   courtyard, just potted plants and a patio set. 
    
                   Then Nat's FOOT swings up and around, kicking the woman's
                   legs out from under her. 
    
                   Nat had been waiting, pinned up like a spider against a
                   window frame just under the ledge of the roof. 
    
                   Anya falls, drops the box, and crashes onto a patio table. 
    
                   Natasha jumps down and scrambles to collect the scattered
                   contents of the box.
    
                                       ANYA
                             That was a clever trick, but you've
                             always been the clever one, haven't
                             you?
    
                   Nat doesn't look up from her task. These documents are vital.
    
                                       NATASHA
                             You're too good, Anya, to be doing
                             such a piss-poor job of trying to
                             escape. So I know that's not your
                             game.
    
                                       ANYA
                             Oh, but isn't the chase fun, _Black
                             Widow_?
    
                   Anya stands up, brushes herself off.
    
                                       ANYA
                             You should have stayed with us,
                             little spider. We are your family.
    
                   Nat crushes a letter in her fist, shaking.
    
                                       NATASHA
                             _She_ was my family! She was the best
                             of us. She was never meant to be a
                             killer, a monster like you or me!
    
                                       ANYA
                             Yes, like you. The one who
                             abandoned us to the wolves! Madame
                             Belova has been freed, at last, no
                             thanks to you. And she wants what
                             you took from her.
    
                   Anya reaches a hand into a back pocket.
    
                                       NATASHA
                             What the hell are you talking
                             about?
    
                                       ANYA
                             You ought to know. But in case
                             you've forgotten, here is a clue
                             you won't find in that box,
                             courtesy of your comrades.
    
                   She flicks a PHOTO from her fingers and it lands atop the
                   box. Natasha freezes.
    
                   It's a picture. Taken from a long zoomed lens from a high
                   angle of a younger Natasha walking and smiling with a man: 
    
                   BUCKY BARNES, the Winter Soldier.
    
                   She looks up, but Anya is long gone, leaving Natasha alone in
                   the alley, surrounded by fallen memories.
    
    
    
                   EXT. WAKANDAN SCIENCE INSTITUTE - ROOFTOP - DAY
    
                   A sprawling modern complex nestled in a lush mountain range. 
    
                   A Wakandan jet lands on a rooftop platform.
    
                   Natasha exits the aircraft wearing jeans, boots, a tank top, 
                   and a leather moto jacket.
    
                   Awaiting her at the entrance are T'CHALLA, King of Wakanda,
                   and AYO, a sharply dressed woman with an icy stare.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - LOBBY - DAY
    
                   QUICK SHOTS
    
                   -- A HANDGUN drops into a plastic basin followed by a series
                   of KNIVES.
    
                   -- Natasha's hand plucks another pistol from an underarm
                   holster. Tosses it in with the other weapons. 
    
                   -- Her hands unhook her WIDOW'S BITE bracelets. Places them
                   down gently, lovingly.
    
                   Natasha now stands with her arms outstretched while Ayo pats
                   her down for more weapons. T'Challa waits opposite, hands
                   behind his back.
    
                                       T'CHALLA
                             You may remember Ayo from Berlin.
                             She is a member of the Dora Milaje,
                             my King's Guard.
    
                   Natasha smiles at the woman running her palms down her leg.
                   Ayo ignores her.
    
                                       T'CHALLA
                             Standard procedure, Ms. Romanoff,
                             you understand. Your weapons will
                             remain here, secure of course.
    
                                       NATASHA
                             You can be honest, T'Challa. I
                             wouldn't trust me either. Not
                             after... our last meeting.
    
                                       T'CHALLA
                             Water under the bridge.
    
                   He smiles warmly. Ayo steps away from Natasha.
    
                                       NATASHA
                             I appreciate you being so
                             accommodating, especially on such
                             short notice. I assure you, it's
                             important.
    
                                       T'CHALLA
                             I believe you, otherwise you
                             wouldn't dare reach out to me, not
                             after _our last meeting_. Besides,
                             you are a beloved friend of Captain
                             Rogers and by extension, Sergeant
                             Barnes. I am only sorry that the
                             Captain could not be here today.
    
                   T'Challa leads the women down a hall --
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY - DAY
    
                   -- past white-coated SCIENTISTS going about their business.
    
                                       T'CHALLA
                             Before I take you to him, I'd like
                             to show you something special.
    
                   They turn a corner.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY
    
                   A glass case in the center of the room displays a METAL ARM.
    
                   Various DOCTORS mingle in the background.
    
                   T'Challa looks to a FEMALE TECHNICIAN wearing safety glasses
                   and a surgical mask. He signals her with a wave of his hand.
    
                   The technician nods and presses a button on the wall. The
                   glass surround raises up revealing the arm. Nat's impressed.
    
                                       NATASHA
                             This is new.
    
                                       T'CHALLA
                             A prototype designed by my sister.
                             We haven't had a chance to test it
                             yet, obviously, but we've worked
                             tirelessly to improve the original
                             design. A combination of synthetic
                             nerves woven into the metal fibers
                             themselves feed into a neural
                             processor in the shoulder which
                             connects directly to the brain.
    
                                       NATASHA
                             Vibranium? 
    
                                       T'CHALLA
                             Naturally.
    
                                       NATASHA
                             So it's essentially indestructible.
                             You can't break that thing apart?
    
                   T'Challa guides a finger along the arm.
    
                                       T'CHALLA
                             Well, the arm is designed in
                             segments. It can be detached and
                             reattached along any of these
                             joints to be repaired or upgraded
                             simply with a soldering iron and
                             some wires. While it matches or
                             exceeds the strength of the
                             previous model, we wished to create
                             an arm that is more than a weapon.
                             In time these innovations might be
                             applied to civilian prosthetics.
    
                   Natasha lifts a hand tentatively.
    
                                       T'CHALLA
                             Please.
    
                   He takes a step back allowing her to touch the arm. 
    
                   Her fingertips drag over the ridges of each segment until she
                   reaches the star outline at the shoulder. 
    
                   For a split second she sees --
    
    
    
                   FASH OF MEMORY
    
                   -- light glinting as her finger traces the shape of the star. 
    
                   But now it's a slightly different design. Older, red...
    
                   BACK TO PRESENT
    
                   -- and suddenly she's back.
    
                   Nat jerks her hand away reflexively and looks up to see Ayo's
                   firm face staring across at her.
    
                   Natasha smirks to cover her embarrassment. _What was that?_
    
                   T'Challa holds out a palm pointing to another room.
    
                   After the trio exit, the female technician removes her
                   glasses and mask. It's Tanya, one of the other Black Widows
                   from an earlier scene.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - CRYO CHAMBER - DAY
    
                   T'Challa, Nat and Ayo stand before a whizzing cryogenic
                   chamber as it is unloaded from the wall.
    
                   Clouds of gas swirl around the cylinder revealing a sleeping
                   BUCKY BARNES, his left arm missing at the shoulder.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY
    
                   Back in the lab, Tanya approaches the arm, holds the wrist
                   and bends it down, creating a slight opening between the
                   connecting segments.
    
                   She slips a tiny, blinking red DEVICE inside the crevice.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY
    
                   T'Challa and Ayo step out of a conference room and into the
                   hall. Just before the door closes, a tired Bucky can be seen
                   slumped in a chair at the far end of long table.
    
                   The two walk side by side down the hall.
    
                                       T'CHALLA
                             I know what you're thinking, Ayo.
    
                                       AYO
                             My King, is it wise to allow her --
    
                   He holds up one hand slightly to stop her.
    
                                       T'CHALLA
                             That woman may have spared me from
                             making a terrible mistake. I
                             believe her intentions are good.
                             And besides, I have you to keep an
                             eye on them.
    
                   The King winks and wanders off, leaving Ayo next to the clear
                   glass door to the lab.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY
    
                   Tanya stands behind the arm's display case. The barrier
                   lowers around the arm.
    
                   Ayo catches Tanya's eyes. The Widow grins.
    
                   Then Tanya turns on her heels and races out another door.
    
                   Ayo, suspicious, goes after her.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - CONFERENCE ROOM - DAY
    
                   Natasha admires a majestic waterfall through the floor-to
                   ceiling windows in the room. 
    
                   It's a beautiful view but Bucky keeps his eyes fixed on her.
    
                   He rests, hunched at one end of the table with a blanket
                   wrapped over his shoulders, waiting for Nat to make a move.
    
                   Finally, she sits across from him. Places both hands on
                   the table, laces her fingers. Takes a deep breath.
    
                                       NATASHA
                             Do you know who am I?
    
                   He pauses a moment, one eyebrow raised. Clears his throat.
    
                                       BUCKY
                                 (voice creaking)
                             Natalia Alianova Romanova. Former
                             KGB. Graduate of the Red Room. They
                             call you The Red Death. The Slavic
                             Shadow. The Russian Avenger. The
                             Black Widow.
    
                   She smirks, squeezes her hands tighter.
    
                                       NATASHA
                             And you're James Buchanan Barnes.
                             Captain America's best friend.
                             Former World War II U.S. Army
                             Sergeant unwillingly turned Hydra
                             spy. Assassin. You're the Winter
                             Soldier. You're also the man that
                             gave me this.
    
                   She tugs her jacket and tank top strap away from her neck
                   revealing a BULLET SCAR on her left shoulder.
    
                                       NATASHA
                             And this.
    
                   She abruptly stands. Her chair falls over behind her. She
                   leans forward and lifts the hem of her shirt. Another nasty
                   WOUND on her stomach. 
    
                   Bucky doesn't flinch. In fact, he seems relieved.
    
                                       BUCKY
                             Is that it?
    
                   She cocks her head, narrows her eyes. Pulls her hem back
                   down. Bucky swallows.
    
                                       BUCKY
                             I trained you. And the other girls.
                             In the Red Room.
    
                   He probes her eyes for recognition but finds none. He looks
                   away, speaks quickly. Dismissive.
    
                                       BUCKY
                             It was a long time ago. And not for
                             very long. You were young. You
                             probably don't remember.
    
                   Natasha stomps across the room and plants the photograph of
                   the two of them on the table in front of him.
    
                                       NATASHA
                             This look like training to you?
    
                   He eyes the picture. Bites his lip.
    
                                       BUCKY
                             Hydra had ties to the KGB.
                             They'd... loan me out on occasion.
                             When you were older we were...
                             assigned to missions together,
                             sometimes, as a team.
    
                   He tries to read her face. Nothing. He lets out a sigh.
    
                                       BUCKY
                             God, look, this isn't the way --
    
                   Suddenly ALARMS BLARE and LIGHTS FLASH in the room. Storm
                   shutters begin to close over the windows.
    
                   Nat pockets the picture. Jogs to the door. Pulls the handle.
    
                                       BUCKY
                             What's going on?
    
                                       NATASHA
                             I don't know. We're locked in.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY - DAY
    
                   ALARMS ring louder. 
    
                   Tanya knocks over equipment and shoves SCIENTISTS aside as
                   she races down a hallway with Ayo in pursuit.
    
                   Ayo draws what looks like a vibranium dagger from a thigh
                   holster. She presses a swtich on the hilt and it expands into a 
                   full-length spear. 
    
                   She throws the spear at Tanya but the Widow turns a corner
                   a the last second and slams into T'Challa. 
    
                   The spear misses, striking the wall. Tanya pushes T'Challa
                   away and races down the hall. 
    
                   Ayo stops to help him up.
    
                                       T'CHALLA
                             What is the meaning of this!?
    
                                       AYO
                             We have an infiltrator. She is one
                             of ours. Or was pretending to be.
                             What are your orders, my King?
                             Shall I capture her or --
    
                                       T'CHALLA
                             No. I'll apprehend her.
    
                   T'Challa pulls out a pair of Black Panther clawed gloves from
                   inside his jacket pocket, puts them on. Begins marching up
                   the hall. 
    
                   Ayo retrieves her spear and follows him. With the push of 
                   a button the spear retracts to its former size. She pockets it.
    
                                       AYO
                             What if this is a distraction? How
                             do we know the Russian is not
                             involved?
    
                                       T'CHALLA
                             We don't. But either way I won't
                             allow a spy loose in this facility.
                             Protect Barnes. Whatever happens,
                             do not leave his side until you
                             deem it safe. If necessary, I give
                             you orders to evacuate, but report
                             back to me as soon as you can. Go!
    
                   He darts away. Ayo reluctantly heads in the other direction.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - CONFERENCE ROOM - DAY
    
                   Natasha kicks at the doorknob with all the strength she can
                   muster. It's no use.
    
                                       NATASHA
                             Damnit, do they make the locks out
                             of vibranium, too!?
    
                   Bucky stands behind her, a bit baffled at her fury. He tugs
                   protectively at the blanket.
    
                                       BUCKY
                             Don't you usually carry some kind
                             of tricks for times like these?
    
                   Her head whips back, sneering.
    
                                       NATASHA
                             You're not exactly helping.
    
                                       BUCKY
                             Well, if I had my _arm_...
    
                   He lets the blanket slip off his shoulder, making his point.
    
                   BZZZT. The lock clicks and Ayo swings open the door.
    
                                       AYO
                             We have a spy. What do you know of
                             this?
    
                                       NATASHA
                             Shit. Is she tall? Blonde?
    
                                       AYO
                             No, African. Wakandan perhaps. I
                             cannot be certain. But she is
                             quick. And well trained.
    
                                       NATASHA
                             Scar on her chin?
    
                                       AYO
                             Yes.
    
                                       NATASHA
                             Tatiana. We have to get out of
                             here. Now.
    
                                       AYO
                             Are you certain?
    
                                       NATASHA
                             Yes!!
    
                   Natasha is surprised by the volume of her own voice.
                   Understanding, Ayo nods then guides them into the hall.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - CAFETERIA - DAY
    
                   Tanya slows when she enters the busy cafeteria. In here, the
                   alarms haven't gone off yet.
    
                   EMPLOYEES enjoy their lunch unaware of the danger. 
    
                   She smiles, this is going to be fun. So many toys: plates,
                   glasses, knives and forks. 
    
                   No one even notices when she casually, naturally, twists the
                   neck of the guard near the doors.
    
                   A WOMAN screams as Tanya leaps on a table. She kicks dishes, 
                   scaring everyone seated around her. 
    
                   There she stands, facing the entry as T'Challa arrives.
    
                   Everyone goes silent. He stares her down. The woman grins. 
    
                   She STOMPS on the lip of a plate. Catches it when it flips up
                   in the air. Breaks it over her knee and FLINGS the pieces in
                   quick succession at his face.
    
                   He blocks each piece with his clawed hand. 
    
                   The EMPLOYEES bolt from their seats to the exit.
    
                   Tanya backflips off the table as T'Challa dives forward.
    
                   They battle each other, making a mess as arms, legs, and food
                   go flying.
    
                   His CLAWS slice at her face but she blocks his every move. He
                   may be powerful but she's quick.
    
                   His advances push her through swinging doors into --
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - KITCHEN - DAY
    
                   -- the industrial kitchen.
    
                   T'Challa doesn't let up, kicking her into a corner.
    
                   Tanya springs over a prep table and snatches a KNIFE from a
                   magnetic strip on the wall. 
    
                   She stabs -- but instead of blocking, T'Challa's gloved hand
                   seizes the knife by the blade and SNAPS it in half.
    
                   Astonished, Tanya freezes for half a second. And T'Challa
                   backhands her in the face.
    
                   She stumbles and braces herself against a tall metal SHELF
                   loaded with pots and pans.
    
                   T'Challa steps forward but Tanya kicks the leg out from under
                   the corner of the shelf. 
    
                   It tips, CRASHING down on T'Challa's head.
    
                   Tanya flees through a maintenance door.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - ROOFTOP - DAY
    
                   Ayo, Nat and Bucky barge through the stairwell door onto the
                   rooftop landing pad.
    
                   Ayo leads them to the parked jet. She hops in the cockpit
                   but Bucky waits outside. He looks down at his arm stump
                   then to Natasha. She sighs.
    
                                       NATASHA
                             Ayo, if I'm not back in 10 minutes
                             I need you to fly out of here as
                             fast as you can!
    
                                       AYO
                             And go where?
    
                                       NATASHA
                             West. To the border. Out of
                             Wakanda. Do you understand?
    
                                       AYO
                             I'd call you a crazy American but I
                             know you are not American. Hurry.
    
                   Natasha heads back inside.
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY - DAY
    
                   Natasha runs back up the hall. Sees T'Challa coming the other 
                   way. He rubs his head with one hand. 
    
                   She slows, distracted by his food-stained suit.
    
                                       T'CHALLA
                             She eluded me.
    
                                       NATASHA
                             I swear to you, I didn't know.
    
                                       T'CHALLA
                             Then what are you still doing here?
    
                   She speeds up as she passes him.
    
                                       NATASHA
                                 (shouting back)
                             He wants his arm!
    
    
    
                   INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY
    
                   Inside the lab, Nat unhooks a fire extinguisher from the wall
                   and hurls it at the glass case.
    
                   Grabbing the arm, she turns to the door. Tanya blocks the
                   exit. She's wearing the Widow's Bite cuffs. _Natasha's_ cuffs. 
    
                   Tanya aims the cuffs and fires BOLTS of electricity. 
    
                   The redhead lunges sideways, hops up, and swings Bucky's 
                   arm like a baseball bat. Tanya ducks and aims again.
    
                   Nat rushes in and the women COLLIDE. 
    
                   Natasha struggles to keep the Widow's Bite angled away from
                   her face as they fight through the room.
    
                   Finally Nat has her on the ground with the metal arm
                   pinned against Tanya's neck.
    
                                       TANYA
                                 (choked)
                             The code.
    
                                       NATASHA
                             What?
    
                   She eases her weight off the metal arm. Tanya coughs.
    
                                       TANYA
                             Belova wants the code.
    
                                       NATASHA
                             What code?
    
                   Tanya leans up on her elbows. 
    
                                       TANYA
                             Ask him.
    
                   Natasha's face turns to fury. She HEADBUTTS Tanya. 
    
    
    
                   INT/EXT. JET - ROOFTOP - DAY
    
                   Impatient, Ayo readies the engines and the jet begins to hover.
    
                                       BUCKY
                             Wait!
    
                   Natasha bursts from the stairwell and sprints to the jet
                   as it raises off the concrete. 
    
                   Tanya chases after her, blood dripping from her broken nose. 
    
                   Bucky kicks open a side door.
    
                   Tanya aims the cuffs once more. SPARKS just miss Natasha as
                   she hurls herself into the open door, landing on Bucky.
    
                   The engines ROAR as the aircraft rises. The door swings shut.
    
                   Natasha rights herself. Shoves the arm at Bucky's chest.
    
                                       NATASHA
                                 (short of breath)
                             Really wish I had my gun right
                             about now.
    
                                       AYO
                                 (self-satisfied)
                             Dora Milaje do not use such
                             primitve weapons.
    
                   Natasha just sighs and collapses in her seat. Bucky looks
                   dumbfounded, holding his severed arm like a broken toy.
    
    
    
                   INT. WAKANDAN AIRSPACE - DAY
    
                   The aircraft zooms through the sky over mountains.
    
                   Bucky rests in the back. Natasha leans over Ayo's seat.
    
                                       AYO
                             The barrier is close. I assume
                             you have a destination in mind. 
                             Europe? America?
    
                                       NATASHA
                             No, we need someplace where 
                             we can lay low.
    
                                       AYO
                             Do you expect to be pursued?
    
                                       NATASHA
                             Not if your King is as good as you
                             say he is. I have a friend just 
                             across the border. You can leave 
                             us there.
    
                                       AYO
                             My King ordered me to protect you.
    
                                       NATASHA
                             You mean him?
    
                   She nods her head at Bucky. Ayo looks back. Bucky just shrugs. 
    
    
    
                   INT. WAKANDAN AIRSPACE - DAY
    
                   The jet soars through the holographic barrier surrounding 
                   Wakanda and on toward the setting sun.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - DAY
    
                   The jet has landed at the edge of flat farm fields and the trio
                   now approach a boarding school complex. Several long, single
                   story, wooden roofed, concrete block buildings. In the center
                   stands a two-story painted timber church with a steeple and
                   bell at the front. 
    
                   CHILDREN pile out from the buildings in a huge commotion.
                   The kids gather round, mostly interested in Bucky.
    
                   Then a hush spreads over the crowd. Children part to allow a
                   woman to pass through. 
    
                   Natasha smiles warmly when she sees SISTER SOPHIA, a black
                   African woman a few years older than Natasha, fully dressed
                   in a nun's habit.
    
                                       SISTER SOPHIA
                             Natushka, it has been too long.
    
                   Natasha leans in for a deep hug.
    
                                       NATASHA
                             I'm sorry for barging in but we
                             need a place to stay for awhile.
    
                                       SISTER SOPHIA
                             Of course. Anything for you and
                             your friends.
    
                                       NATASHA
                             This is Sonja - I mean, Sister
                             Sophia. This is --
    
                   Natasha points to Bucky.
    
                                       SISTER SOPHIA
                             I know you, Soldat.
    
                                       BUCKY
                             It's Bucky, these days, Sister.
    
                                       NATASHA
                             And this is Ayo, of the Wakandan
                             Dora Milaje.
    
                                       SISTER SOPHIA
                             Ah, it is an honor!
    
                                       AYO
                             You were once a Black Widow, like
                             Ms. Romanoff, I assume?
    
                                       SISTER SOPHIA
                             Yes, once, and now I am a nun!
    
                   The Sister seems rather amused by her ironic change in
                   profession. Ayo's face softens.
    
                                       NATASHA
                             Madame Belova was released from
                             prison. She's gathered any loyal
                             Widows she can and for some reason
                             they're after me. And him, too.
    
                   Sister Sophia takes Natasha by the arm and guides the group
                   toward the church. Giggly children follow at a distance.
    
                                       SISTER SOPHIA
                             I knew this wasn't a social visit.
                             If not for some emergency I doubt
                             you'd ever come to see how much you
                             helped to build. You're safe, for
                             the moment. Let us show you around.
    
                                       NATASHA
                             Actually, I think he might need
                             some work.
    
                   Bucky carries his extra arm.
    
                                       SISTER SOPHIA
                             Well, then we shall begin our tour
                             at the metal shop.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - METAL SHOP - DAY
    
                   Bucky sits on a tree stump while Ayo uses various tools to
                   attach Bucky's arm. 
    
                   Natasha watches, arms folded, tired. The children circle
                   around, some hide shyly behind trees.
    
                                       AYO
                             The Sister made it sound like you
                             had something to do with all this?
    
                   Ayo glances at the buildings: classrooms, dorms, warehouses.
    
                                       NATASHA
                             After I defected I got in touch
                             with Sonja, who had also managed to
                             get out. She wanted to start a
                             school for orphans of the civil
                             wars. I... invested.
    
                   She notices Bucky staring up at her so she looks away.
    
                                       NATASHA
                             I've got red in my ledger. Trying
                             to wipe it out...
    
    
    
                   EXT. SACRED BLESSING SCHOOL - METAL SHOP - DAY - LATER
    
                   Bucky performs for the children by crushing scrap metal
                   pieces with his newly installed hand. The children squeal
                   with delight.
    
                   Natasha and Sister Sophia look on from a distance.
    
                                       SISTER SOPHIA
                             You couldn't have stopped her.
                             Marina had already made up her
                             mind. By writing letters to the
                             other girls, by visiting with you, 
                             she was saying her goodbyes. Can
                             you not see it? 
    
                                       NATASHA
                             I do now, but why? That's what I
                             still don't get.
    
                                       SISTER SOPHIA
                             It was her decision. In taking her
                             own life she claimed it for
                             herself. It was her final act of
                             rebellion against the Red Room.
                             I do not condone it, but I do
                             understand it. Our choices are our
                             own. May she find peace.
    
                   Bucky is now arm wrestling a TEENAGE BOY. Bucky pretends to
                   lose. The boy beams. Children cheer.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - CHURCH - NIGHT
    
                   Natasha sits alone on the church steps, looking over the
                   photo of her and Bucky. 
    
                   She hears shuffling footsteps in the dirt.
    
                                       BUCKY
                             Been lookin' for you.
    
                                       NATASHA
                             Couldn't sleep. How's the arm?
    
                   He lifts the vibranium arm and rotates it.
    
                                       BUCKY
                             It's different but I like it. More
                             responsive, I think... Hey, we
                             didn't get much of a chance to talk
                             earlier --
    
                                       NATASHA
                             Another Widow, Anya, gave me this
                             photo knowing I would want answers.
                             Knowing I would come here to find
                             you, wake you up.
    
                                       BUCKY
                             They wanted you to lead them to me.
    
                   He sits beside her.
    
                                       NATASHA
                             No, Tanya, she didn't follow me.
                             She infiltrated the research
                             institute weeks ago, maybe months.
                             If the Red Room already knew your
                             location, already had someone on
                             the inside, why get me involved?
    
                   Bucky bites his lip, flexes his metal fingers.
    
                                       BUCKY
                             'Cause it ain't me they're after.
    
                                       NATASHA
                             In the lab, Tanya mentioned
                             something about a code. Do you know
                             anything about that?
    
                                       BUCKY
                             Not ringing any bells.
    
                   Natasha taps the picture.
    
                                       NATASHA
                             Why don't I remember this?
    
                   She tries her best to keep her face clear of emotion, always
                   hiding. Bucky takes a deep breath.
    
                                       BUCKY
                             You know the technology that Hydra
                             used to wipe my mind clean, made me
                             forget everything in between
                             missions, to control me? The Red
                             Room... they used it, too.
    
                   Nat's eyes go wide. She gasps, bolts up, crosses her arms.
    
                                       NATASHA
                             Why!? What reason would they have
                             to do that?
    
                                       BUCKY
                             You tried to defect. Not to SHIELD.
                             Before that. But you got caught.
    
                                       NATASHA
                             When? How could you know that!?
    
                   Bucky runs a hand through his hair, shifts his weight.
    
                                       BUCKY
                             ...Because I'm the one who brought
                             you in.
    
                   Then, in the distance, a SCREAM. And a small EXPLOSION.
    
                   Bucky leaps up. Behind them, near the far buildings - fire.
    
                   They both race off in the direction of the dorms as TEACHERS
                   and CHILDREN pour out into the courtyards.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - DORMITORY - ROOF - NIGHT
    
                   Flames from adjacent buildings light up the background.
    
                   GASOLINE drips over the wooden shingles. Tanya walks along
                   the center beam, balancing gracefully as she dumps the last
                   of the liquid from the container.
    
                   She tosses the container, pulls a matchbook from her back
                   pocket, flicks a match and tosses it behind her. 
    
                   She leaps from the roof as the fire rises above.
    
                   The children inside the building SCREAM.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - DORMITORY COURTYARD - NIGHT
    
                   Bucky and Nat halt at the courtyard. Each long dormitory
                   is ablaze. Ayo appears beside them.
    
                                       AYO
                             She tracked us.
    
                   Nat whips her head back with a look that says "obviously."
    
                   Sister Sophia rushes onto the scene, dressed in her sleeping
                   gown, hair wrapped up. One hand covers her mouth in shock.
    
                   Bucky dashes toward one of the dorms.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - DORMITORY - NIGHT
    
                   Bucky ushers a group TERRIFIED CHILDREN out of the smoke
                   filled building.
    
                   Once they're all safe he makes eye contact with a teenage
                   boy.
    
                                       BUCKY
                             You -- check the north side!
    
                   The boy runs off.
    
                   Bucky turns back to the dorm, shields his mouth with his arm.
    
    
    
                   INT. SACRED BLESSING SCHOOL - DORMITORY - NIGHT
    
                   Bucky kicks in a door to a bedroom. Inside, two GIRLS huddle
                   in a corner, too scared to move.
    
                   He lifts up the smallest one and pulls the other by the hand.
    
                   CRUNCH -- the roof above the exit collapses. Bucky turns
                   around and they run headlong through thick smoke.
    
                   They reach the far wall but there's no door. Only a tiny
                   window. Bucky puts down the girl, winds up his metal arm and
                   PUNCHES clear through the concrete.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - DORMITORY - NIGHT
    
                   The roof above creaks and shudders as Bucky PUNCHES through
                   the growing hole in the wall -- again and again.
    
                   Smoke pours from the opening, then the little girl shimmies
                   out, followed by the second child.
    
                   Bucky punches one last time, then squeezes through.
    
                   He crawls free just as the roof collapses entirely, sending
                   up a billowing cloud of smoke, sparks, and ash.
    
                   Natasha rushes up and puts an arm around his waist 
                   as he climbs to his feet.
    
                                       NATASHA
                             Are you hurt?
    
                   She catches him off guard. He's startled by her concern, her
                   closeness, her touch. The flames reflect off her pupils. 
    
                   Then he spits out a heavy cough that shakes him from his
                   reverie. Back to business.
    
                                       BUCKY
                             Have you found her yet?
    
                   DING DONG. DING DONG. Their heads turn toward the church bell.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - CHURCH - NIGHT
    
                   Natasha climbs a ladder through an open hatch onto the
                   bell tower.
    
                   Four posts hold up the steeple roof over an iron bell. In
                   front of it, Tanya overlooks her destruction.
    
                                       NATASHA
                             You didn't have to do this.
    
                                       TANYA
                             You didn't have to run.
    
                   Tanya crosses her arms over her chest, CUFFS glinting in
                   firelight.
    
                                       TANYA
                             Seven years. Headmistress Belova
                             was locked away for seven years.
                             They locked up the Red Room, too.
                             Pretended like it was never even 
                             there. Buried in snow. Do you know
                             what I did for those seven years? 
    
                   Natasha steps next to her. The flames below brighten their
                   faces.
    
                                       TANYA
                             Nothing. Not a damn thing. I
                             offered my services to the
                             government but they didn't want to
                             acknowledge that the Room ever
                             existed. It was an international
                             embarrassment for Russia. But they
                             wouldn't let me leave, either. No,
                             they couldn't risk me working for
                             the West. So they made me a
                             prisoner, too, in a way. Imprisoned
                             in my new "normal" life.
    
                   Tanya leans against the post. Her hands form into fists.
    
                                       TANYA
                             All I am, all I ever was, was made
                             to serve the Motherland. We are
                             spies, not school teachers! Nor
                             factory workers. Do you know what
                             it feels like to be useless,
                             unwanted, disposable?
    
                                       NATASHA
                             Maybe I do. 
    
                                       TANYA
                             No, you don't. Because you're not
                             one of us. Not anymore, you
                             traitorous liar! You don't deserve
                             the title of Black Widow.
    
                   An exasperated sigh escapes Nat's mouth.
    
                                       NATASHA
                             Whatever it is Belova wants, I
                             can't give it to her. She wiped my
                             memory.
    
                   Her voice trembles at that last sentence. It's the first time
                   she's admitted to herself. Tanya smirks.
    
                                       TANYA
                             I know, that's why I'm here. To
                             make you remember.
    
                   Nat points to the courtyard.
    
                                       NATASHA
                             By destroying this school!?
    
                                       TANYA
                             By showing you what's at stake!
    
                   Natasha shakes her head in disbelief. Her anger rises.
    
                                       NATASHA
                             This is sick... You wanna know what
                             I remember? I remember being
                             handcuffed to my bed every night.
                             With the windows open. In winter! 
    
                   She lunges forward, pushing Tanya's back to the ledge of the
                   tower. She digs a finger into the center of Tanya's chest.
    
                                       NATASHA
                             I remember training to fight dawn
                             til dusk with no food or water. 
                             I remember having every bone in my
                             body broken so I learned not to
                             feel pain!
    
                   Tanya flinches when her foot slips off the floor onto empty
                   air. She struggles to keep her balance.
    
                                       NATASHA
                             I remember being dropped in the
                             tundra with no supplies and told to
                             survive. You can burn the entire
                             world to the ground but I am never
                             going back there!
    
                   Natasha whips around, steps to the side of the tower,
                   desperate to catch her breath. She squeezes her eyes shut to
                   quell her rage.
    
                   Tanya, too, gulps for air, steps in from the edge and regains
                   her composure.
    
                   She inches closer behind Nat and leans over her shoulder --
    
                                       TANYA
                             You may do as you like. But I will
                             serve the Red Room until it no
                             longer needs me.
    
                   SPARK -- electricity from the cuff bites her in the back.
    
                   Natasha's knees buckle. She tilts forward, collapses, rolls
                   down the sloped roof.
    
                   She lands in the dirt below, wind knocked out of her. Her
                   eyelids flutter closed.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - CHURCH - NIGHT - LATER
    
                   Tanya backs out of the double doors of the church and down
                   the steps, sloshing more gasoline in her wake.
    
                   CH-CHK. Tanya stops, drops the container, turns, smiles.
    
                   Sister Sophia stands waiting, a shotgun in her arms.
    
                                       SISTER SOPHIA
                             You have destroyed everything I
                             have worked for years to build.
                             These children are safe, I thank
                             God for that, but many of them have
                             no home and no where else to go.
                             What is to become of them? I do not
                             know. But I know this.
    
                   She lays the gun down at her feet and steps over it. She
                   makes the sign of the cross.
    
                                       SISTER SOPHIA
                             The Lord forgives, and so must I.
                             Please, Tanya. End this senseless
                             slaughter. Allow us peace and so
                             you, too, shall know peace.
    
                   AROUND THE CORNER
    
                   Natasha crawls toward the front of the church. She braces
                   herself against the corner of the building as she stands.
    
                   BACK AT THE DOORS
    
                   Tanya watches Natasha struggle then smiles at Sister Sophia.
    
                                       TANYA
                             Always such a bleeding heart.
    
                   Tanya slowly aims the Widow's Bite.
    
                                       NATASHA
                             Tanya, stop!
    
                   Tanya glares at Nat while pressing the cuff against Sister
                   Sophia's forehead, forcing her to kneel.
    
                                       TANYA
                             All of this can be over if you give
                             me the code. 
    
                                       NATASHA
                             You know I don't remember!
    
                                       TANYA
                             You have 30 seconds.
    
                                       NATASHA
                             This is insane! Sonja, please!
    
                   The nun's eyes grow cold, resolved. She's as well trained and
                   experienced as Tanya. She could disarm her attacker in a
                   split second but instead, she speaks --
    
                                       SISTER SOPHIA
                             This isn't who you were are,
                             Tatiana. You were meant for better
                             things. You belong with us. There
                             is a place for you here.
    
                                       TANYA
                             I have no place in the world and
                             neither do you.
    
                                       SISTER SOPHIA
                             That is a lie. A lie they told us.
                             To hide what they didn't want you
                             to know. That you were taken. 
                                 (pointing back toward the
                                  courtyard)
                             That you are one of them, victims
                             of the same war. Like I am!
    
                                       TANYA
                             I am nothing like you.
    
                                       SISTER SOPHIA
                             Perhaps you are right. You would
                             murder innocent children for a
                             woman who would as easily see you
                             rot in the ground. But you were
                             innocent once, like them. Only you
                             were taken from your home to serve
                             an evil. This was a crime. You
                             deserved more than war and despair.
                             You are a daughter born of this 
                             very land. And now you are home!
    
                   Her words break through some invisible wall. Tanya squints,
                   the space between her eyes tightens. Her hand slips lower
                   just an inch.
    
                   Natasha takes a deep breath. Almost out of the woods.
    
                   Tanya cocks her head, opens her mouth slightly, about to ask
                   the question --
    
                   WOOSH. Natasha flinches. 
    
                   In slow motion, Tanya falls to the ground -- a vibranium 
                   spear jutting from her adboment. And beyond her, about
                   10 yards away stands Ayo.
    
                   The entire scene is blurred by Natasha's grief. Everything
                   slowed. Hazy snippets of faces, hands, and feet:
    
                   -- The nun's eyes widen. Her arms reach for Tanya.
    
                   -- Natasha dives to her friend's side.
    
                   -- Bucky approaches from the courtyard.
    
                   -- Heartbreak covers Sister Sophia's face as she holds Tanya
                   in her arms.
    
                   -- Natasha gets up, rushes Ayo, yelling. Ayo backs away,
                   hands in front of her, ready to defend.
    
                                       AYO
                             She was going to shoot her!
    
                                       NATASHA
                             She was talking her down!
    
                                       BUCKY
                             Hey, hey, hey!
    
                   Bucky pulls Nat away by her shoulder, spins her around. She
                   lands in his arms. All she can do is cry.
    
    
    
                   EXT. SACRED BLESSING SCHOOL - EDGE OF THE JUNGLE - DAY
    
                   The next morning Ayo, Natasha, and Bucky bury Tanya's body. 
    
                   Ayo and Nat watch Bucky shovel the last layers of fresh dirt 
                   while Sister Sophia reads from the Bible.
    
                                       AYO
                             It is a matter of national pride
                             that Wakanda has never been
                             invaded... Until now.
    
                   Finished, Bucky steps back to stand next to Ayo.
    
                                       BUCKY
                             I wouldn't call one woman an
                             invasion.
    
                                       AYO
                             How could she have gone unnoticed?
    
                   Sister Sophia closes the book, holds it to her chest.
    
                                       SISTER SOPHIA
                             It is the unteachable skill. To
                             belong anywhere you must first
                             belong nowhere.
    
                   Nat uses a mallet to pound a wooden cross at the head of the
                   grave.
    
                                       SISTER SOPHIA
                             She was not the first invader. In
                             the '80s the Soviets provoked war
                             amongst Wakanda's neighbors in
                             hopes the violence would bleed into
                             Wakanda itself. They, like others,
                             wanted to control your vibranium.
                             They failed at that goal, but they
                             did not leave empty handed
                         
                   Natasha puts a hand on the Sister's shoulder.
    
                                       NATASHA
                             She's home now, Sonja. And so are
                             you.
    
                   Nat turns from the grave and wanders back toward the
                   smouldering school. 
    
                   Bucky jogs to catch up with her. She avoids his eyes.
    
                                       NATASHA
                             It's my fault. I never should have
                             come here. I never should have
                             turned my back on her. Rookie
                             mistakes. I let my emotions...
    
                                       BUCKY
                             Hey, don't beat yourself up. Only
                             thing we can do now is focus on our
                             next move.
    
                                       NATASHA
                             _Our_ next move? No, you go back to your
                             buddy, Steve. I've got work to do.
    
                   She picks up her pace.
    
                                       BUCKY
                             Natasha, if I'm responsible for any
                             of this, I can't just walk away.
                             For whatever reason, The Red Room
                             wants this code. You have to find
                             it before they do. Let me help. You
                             don't need to do this alone.
    
                   She stops, faces him, then pivots away again, hesitating, not
                   sure what to ask.
    
                                       NATASHA
                             How long? ...How long will it take
                             to remember?
    
                                       BUCKY
                             Uh, depends. It comes in bits and
                             pieces. Could be years. Or it could
                             come faster if you find some way to
                             trigger your memory. Do you... do
                             you want to know -- ?
    
                                       NATASHA
                             No. They're my memories. I want to
                             remember them on my own.
    
                                       BUCKY
                             Are you sure -- ?
    
                                       NATASHA
                             Absolutely. 
    
                   She spins around, shakes a finger at him.
    
                                       NATASHA
                             The Room wiped my mind to keep me
                             from defecting, right? That had to
                             have been, what, over a decade ago?
                             At that time I only knew of one
                             other Widow who managed to escape
                             successfully. I would have gone to
                             her for help.
    
                                       BUCKY
                             Do you know where she is?
    
                                       NATASHA
                             No, I but I bet Marina did.
    
    
    
                   EXT. EMPTY ARIZONA ROAD - DAY
    
                   Bucky lumbers alongside the asphalt, head down, wearing a
                   long-sleeved hoodie and gloves despite the heat.
    
                   A nondescript rental rolls up beside him. Natasha, clad in
                   her classic jacket and fitted tank, leans out the window.
    
                                       NATASHA
                             I was worried you wouldn't make it.
    
                                       BUCKY
                             I was worried you lied to get me
                             out of the way.
    
                   Natasha grins.
    
    
    
                   INT/EXT. CAR - ARIZONA ROAD - TRAVELLING - DAY
    
                   Nat drives while Bucky relaxes in the passenger seat,
                   thankful to be out of the sun.
    
                                       BUCKY
                             It wasn't easy getting over the
                             border but I called in some favors.
                             Maybe made a few threats.
    
                                       NATASHA
                             Well, getting out should be easier.
    
                   She hands him a forged U.K. passport with his photo on it.
    
                                       NATASHA
                             You should take a look at this.
    
                   She passes him an envelope. He pulls out a handwritten letter
                   and a PHOTO.
    
                                       BUCKY
                             "If you ever need to find me, ask
                             for Krysta at 'House of Pancakes'
                             downtown." Don't you think it's odd
                             that she'd use her real name, not
                             an alias, to be safe? 
    
                   He takes a close look at the picture of a young woman that
                   must have been taken during her Red Room days.
    
                                       NATASHA
                             Who knows? Maybe she trusted
                             Marina.
    
    
    
                   EXT. ARIZONA ROAD - DAY - LATER
    
                   Nat's car passes a lonely gas station on the way into town.
    
                   A shiny new black AUDI S4 sits at the pump with the driver's
                   window down. Inside Katya slips on a pair of sunglasses and
                   shifts the car into gear.
    
    
    
                   EXT. HOUSE OF PANCAKES - DAY
    
                   The rental parks in the lot outside the diner. Natasha waits
                   in the car.
    
    
    
                   INT. HOUSE OF PANCAKES - DAY
    
                   Bucky takes a seat at a table by the front window. Most other
                   tables are empty. Country music plays over a single speaker.
    
                   A WAITER approaches and slides a menu in front of Bucky.
    
                                       WAITER
                             Morning. Can I get you started with
                             some coffee?
    
                                       BUCKY
                             Actually, I was wondering, do you
                             know if Krysta is working today?
    
                   The waiter looks Bucky up and down. Then glances through the
                   window at the car.
    
                   After a moment, with his eyes still on the window:
    
                                       WAITER
                             Uh, yeah. She's in the back. I can
                             get her for you.
    
                   He then spots Bucky's gloved hand, hesitates.
    
                                       WAITER
                             Know what? It's pretty slow. Wanna
                             come with me? I'll take you to her.
    
                   The waiter smiles politely. Bucky notices the man's shift but
                   returns his smile like nothing's amiss.
    
    
    
                   EXT. HOUSE OF PANCAKES - DAY
    
                   From inside the car, Nat sees Bucky and the waiter walk
                   further inside the building.
    
    
    
                   INT. HOUSE OF PANCAKES - HALLWAY - DAY
    
                   The waiter opens an exterior door and steps through, out of
                   Bucky's line of sight.
    
                   Bucky looks concerned but he has no choice but to follow.
    
    
    
                   EXT. HOUSE OF PANCAKES - ALLEY - DAY
    
                   Bucky swings his metal arm up to block just in time as the
                   waiter ATTACKS -- kicking and punching, scrappy and brutal.
    
                   Bucky's on the defensive, quite taken off guard. This isn't
                   just some waiter, he's obviously a well-trained combatant.
    
                                       WAITER
                             They didn't learn after the first
                             time, did they!? Thought they'd try
                             again, huh?
    
                                       BUCKY
                             What the -- ?
    
                   The waiter hops up on the dumpster lid, bounces off the
                   exterior wall and leaps onto Bucky's back. 
    
                   He wraps his arms around Bucky's neck in a chokehold. Bucky
                   spins, off balance.
    
                   He falls back, SLAMMING the waiter into the piles of trash
                   bags collected around the dumpster.
    
                   Bucky gets up, rubs his neck. He didn't come here to start a
                   fight but now he's pissed. His anger gets the better of him.
    
                   The Winter Soldier comes out as he unleashes a powerful PUNCH
                   -- but the waiter is quick, evasive. 
    
                   He rolls off the trash pile as Bucky STRIKES. Garbage breaks
                   free from the plastic and flies into the air.
    
                   The waiter goes low, tries to kick Bucky's legs out from
                   under him.
    
                   Then Bucky RAMS forward, full force, pinning the waiter
                   against the wall with his metal arm, squeezing the air out of
                   the other man's lungs. 
    
                   The Soldier growls at him but the waiter doesn't flinch.
    
                                       NATASHA (O.S.)
                             Hey!
    
                   Both men turn their heads. Bucky immediately steps back,
                   ashamed. Nat looks to each of them, utterly confused.
    
                                       WAITER
                             Natasha?
    
                   He grabs her and draws her in for a tight hug. When he pulls
                   away, she searches his eyes.
    
                                       NATASHA
                             ...Krysta?
    
                                       CHRIS
                             Actually, it's Chris now.
    
                                       BUCKY
                             Shit.
    
                                       NATASHA
                             Oh, I'm sorry. I didn't realize --
    
                   He takes a step back, puts a hand on his hip, runs his other
                   hand through his messy hair, grins.
    
                                       CHRIS
                             Wouldn't have expected you to.
    
                                       NATASHA
                             How long? I mean, when...?
    
                                       CHRIS
                             It's been a process. As soon as I
                             left, I guess.
    
                                       BUCKY
                             Explains why he managed to evade
                             the Red Room for so long.
    
                   Chris whips around, anger taking over again.
    
                                       CHRIS
                             No, I've stayed alive all this time
                             'cause I'm smart! I remember you,
                             tin man. What the hell were you
                             thinking? You got a death wish,
                             trying to scare a guy? You think I
                             haven't prepped for this?
    
                   Natasha puts a hand on his shoulder to calm him.
    
                                       NATASHA
                             It's good to see you, Chris.
    
                                       CHRIS
                             You, too. How'd you find me? It was
                             Marina, wasn't it? Ugh, I knew
                             writing to her was a bad idea.
    
                                       NATASHA
                             Marina's dead.
    
                                       CHRIS
                             Shit. Should've known.
    
                   He paces in a circle. Rubbing his forehead.
    
                                       CHRIS
                             Damn, Nat. It's been years. What
                             happened to you? You never showed
                             in Cairo. I thought you were dead!
    
                                       NATASHA
                             Cairo? You've lost me...?
    
                                       CHRIS
                             Yeah, Cairo. I was going to deliver
                             you to the UK embassy. I stuck my
                             damn neck out to help you!
    
                                       NATASHA
                             Yeah, I uh, I got caught.
    
                                       CHRIS
                                 (taken aback)
                             For real? Pft, that's even worse.
    
                   Bucky leans against the wall, listening.
    
                                       NATASHA
                             When we were in contact, did I ever
                             mentioned anything about a code?
    
                                       CHRIS
                             Code? No, but you did give me an
                             envelope. If you didn't show I was
                             supposed to post it to British
                             Secret Intelligence. So I did.
    
                                       NATASHA
                             You didn't happen to look inside
                             the envelope, did you?
    
                   He avoids her eyes. Goes back to pacing.
    
                                       CHRIS
                             Well, yes, but it was just a bunch
                             of random numbers.
                             Maybe that was the code, but to
                             what? A safe? Computer? A message?
    
                   Nat shrugs.
    
                                       CHRIS
                             Shit, were you followed? Was he?
    
                   He's on edge but Natasha keeps her cool.
    
                                       NATASHA
                             No, we came alone. Separate.
    
                                       CHRIS
                             Can you trust him? Those bastards
                             did so many messed up things to his
                             head, how do you know he's not --
    
                                       BUCKY
                             Hey!
    
                   Chris steps up in his face. Bucky pushes out his metal hand,
                   defensively.
    
                                       CHRIS
                             You know, the last time they sent
                             you after me I had to move to a new
                             continent, change my name. Hell, I
                             even changed my face! But that's
                             not the worst part. I built a life
                             for myself and now that's all gone!
                             Do you know how hard it is for a
                             guy like me to make friends? To
                             find a damn doctor!? And now,
                             thanks to you two, I'm gonna have
                             to do it all over again! 
    
                                       BUCKY
                             I didn't mean to --
    
                                       CHRIS
                             Save it. I hope they beat you real
                             good for not catching me, you son --
    
                   Natasha shoves Chris away from Bucky who's fired up now.
    
                                       NATASHA
                             Enough! You want the Red Room to
                             stop chasing you? Then quit running
                             and help us end them! You're right.
                             The others, the ones still loyal to
                             the Madame Belova, they're after me
                             and I have figure out why.
                             Unfortunately, I don't have the
                             luxury of memory on my side and I
                             need all the help I can get,
                             including his. We shouldn't have to
                             live in fear anymore, none of us!
    
                   Chris only stares at her for a moment.
    
                                       CHRIS
                                 (more composed)
                             You haven't noticed that sedan,
                             have you? It's circled the block
                             three times since we've been out
                             here.
    
                   Her eyes drift to the street and she spots the tail of the S4 
                   as it passes behind another building.
    
                                       CHRIS
                             Come with me, quick.
    
                   He leads them deeper into the alley. Climbs atop a dumpster
                   to jump the chain link fence behind.
    
    
    
                   INT/EXT. AUDI - DAY
    
                   The car pulls around one more time, slows to a stop. Katya
                   peers down the alleyway.
    
                   They're gone. 
    
                   Katya's eyes lower to a phone in her hand. On the SCREEN, a
                   map, with a moving red dot.
    
    
    
                   EXT. SIDE STREET - CHRIS' HOUSE - DAY
    
                   Chris jogs down the street. Nat and Bucky try to keep up.
    
                   A few turned corners later, they arrive at an old stucco
                   bungalow crowded with trash, junk, and dead potted plants all
                   over the porch.
    
                   Chris pulls keys from a back pocket. Nat and Bucky keep an
                   eye out for the Audi.
    
    
    
                   INT. CHRIS' HOUSE - DAY
    
                   Chris shuts the door behind them. 
    
                   Rather than locking the excessive number of deadbolts and
                   reinforcements, he pulls wires and a black DEVICE from a
                   dresser beside the front door.
    
                   He peels a plastic cover off the box with his teeth and
                   sticks it on the top of the door where it meets the trim.
    
                   Bucky treads carefully through the room. It's trashed. Used
                   plates, empty bottles, dirty clothes. Thrift store furniture
                   and stale air. 
    
                   Nat instinctively pulls curtains closed.
    
                   Chris travels backward through the house, unrolling wires. He
                   bumps into Bucky who spins around. His eyes track the wire
                   trail to the device on the door.
    
                   His view is interrupted by Chris' hand pointing to the hall.
                   He snaps his fingers.
    
                                       CHRIS
                             Bedroom closet. There's a bag.
    
                   Bucky narrows his eyes, annoyed. Chris snaps again. This
                   time, Bucky obeys.
    
                   Natasha's finger slides one of the curtains aside. A sliver
                   of daylight brightens her eye.
    
                   Chris reaches the kitchen and hooks the wires to another
                   device which he drops inside the vintage oven.
    
                                       CHRIS
                             Who do you think it is? Vera?
                             Katerina? Tatiana?
    
                   Nat drops the curtain, leaving her face in darkness.
    
                                       NATASHA
                             It's not Tanya.
    
                   Chris considers this. Bites his tongue. Returns to the task
                   at hand. He flips knobs on the stove, filling the air with
                   wheezing gas. 
    
                   IN THE BEDROOM
    
                   Natasha finds Bucky seated at the edge of the bed, a huge
                   black duffle bag open in his lap.
    
                                       NATASHA
                             Chris said the Room sent you after
                             him once. Do you remember... him?
    
                                       BUCKY
                             I do now.
    
                   He lifts a stack of cash out of the bag with one hand, and a
                   very illegal automatic weapon with the other.
    
                   Bucky can't help but chuckle. Nat tries to stifle a smile.
    
                                       CHRIS (O.S.)
                             Alright, ladies. Time to get this
                             show on the road!
    
                   IN THE KITCHEN
    
                   Chris releases the nozzle on the last of the propane tanks
                   stored inside every lower cabinet in the kitchen. He leaves
                   the cabinet doors open.
    
                   Natasha covers her nose when she walks in.
    
                   Bucky, holding the duffle, almost opens the back door but
                   stops, noticing another detonator stuck to the door frame.
    
                   Chris climbs out a back window.
    
    
    
                   EXT. CHRIS' HOUSE - FRONT - DAY
    
                   Katya examines a TRACKING APP on her phone as she approaches
                   the house on foot. She left her car further down the block.
    
                   She climbs the porch steps and searches the area. Windows
                   covered. Door looks weathered but solid. She kicks over a
                   terracotta pot. No key.
    
    
    
                   INT/EXT. CHRIS' HOUSE - BACK - DAY
    
                   Bucky's boots crunch onto the gravel below the window. He
                   turns back to help Nat down. She doesn't budge.
    
                                       CHRIS
                             Don't give me that face, Natasha.
                             We gotta go!
    
                   She glares back at him, indignant, biting her cheek.
    
                                       CHRIS
                             Look, it's not enough to kill her.
                             I mean, don't get me wrong, it'll
                             hurt pretty bad -- right buddy?
    
                                       BUCKY
                             Bucky.
    
                                       CHRIS
                             Whatever, it's just giving us a
                             head start. Come on, sweetie,
                             you're letting out all the gas!
    
                   Chris waves for her to come. Nat looks to Bucky. He's
                   squirmy, nervous, but doesn't disagree with Chris.
    
    
    
                   EXT. CHRIS' HOUSE - FRONT
    
                   Katya peers through a crack in the curtains, cupping her eyes
                   with one hand, holding her phone to her ear with the other.
                   She speaks in Russian.
    
                                       KATYA
                             I've got them contained. What's
                             your directive?
    
                                       BELOVA (V.O.)
                             Are they stationary?
    
                                       KATYA
                             Yes.
    
    
    
                   EXT. CHRIS' HOUSE - BACK ALLEY - DAY 
    
                   Chris lugs the bag and leads them to an old 1970s PORSCHE 911
                   coupe parked along the back street.
    
                                       BELOVA (V.O.)
                             Remember, I want her alive. The
                             other two are expendable.
    
                   Chris tosses the key to Nat and hops in the passenger's seat.
    
                   Nat and Buck share a questioning look. Then he shrugs and
                   climbs in the tiny backseat. Chris grins smugly at him in the
                   rearview mirror.
    
                   Nat buckles into the driver's seat and starts the ignition.
    
    
    
                   EXT. CHRIS' HOUSE - FRONT - DAY
    
                   At the sound of the engine, Katya looks at her phone. The
                   little tracking dot dips south, away from the bungalow.
    
                                       KATYA
                             They're on the move.
    
                                       BELOVA (V.O.)
                             Then pursue them!
    
                   Katya checks around the side of the house but the yard is
                   blocked by overgrown bushes and old scrap building materials.
    
                   She trades out her phone for a handgun and readies her stance
                   in front of the door. Sometimes the fastest way out is
                   through.
    
                   Her left leg bends upward and KICKS.
    
    
    
                   INT/EXT. PORSCHE - BACK ALLEY - TRAVELLING - DAY
    
                   Bucky watches the EXPLOSION over the rooftops as the coupe
                   speeds away.
    
    
    
                   EXT. CHRIS' HOUSE - FRONT - DAY - LATER
    
                   A group of concerned NEIGHBORS wake Katya up in the yard.
                   They back away when they see her gun lying next to her. 
    
                   She rubs her temple. Fumbles for the gun. Scrambles upright. 
    
                   She limps toward the parked Audi. Firetruck SIRENS grow
                   louder in the distance.
    
    
    
                   INT/EXT. PORSCHE - LONELY ARIZONA HIGHWAY - TRAVELLING - DUSK
    
                   Light fades as the Porsche heads south on a two-lane highway.
    
                   Chris digs through his duffle.
    
                                       CHRIS
                             Stay under the speed limit. We
                             don't want to get pulled over.
    
                   Nat lays off the gas. The car slows to cruising speed.
    
                                       CHRIS
                             You know, Irina and Lara work for
                             MI6 now, have you talked to them?
    
                                       NATASHA
                             No, but I will. Thanks for the tip.
    
                                       BUCKY
                             How did they locate us so fast?
    
                                       CHRIS
                             It's the Red Room. They have their
                             ways.
    
                   Bucky catches sight of blue tinted headlights behind them.
    
                                       BUCKY
                             Speak of the devil.
    
                   Chris checks the side mirror.
    
                                       CHRIS
                             That's gotta be her. Damn.
    
                                       NATASHA
                             We can't outrun her. Not in a
                             forty-year-old car.
    
                                       CHRIS
                             We could if we didn't have an extra
                             hundred kilos of dead weight.
    
                   Bucky, stuffed in the back seat, throws up his hands like,
                   "Can you believe this guy?"
    
                                       NATASHA
                             We can work this out. She won't
                             hurt me, at least not until they
                             get what they want.
    
                                       BUCKY
                             Guys...
    
                   The Audi gains speed, moves into the opposite lane.
    
                                       CHRIS
                             Sure, you'll be fine, but they
                             couldn't give two shits about me or
                             your boyfriend here.
    
                                       BUCKY
                             Guys!
    
                   Chris pulls a Glock from his bag and loads it.
    
                                       NATASHA
                             Hold on a second. We don't even
                             know who it is yet!
    
                                       BUCKY
                             Natasha!
    
                                       CHRIS
                             Katya.
    
                   Natasha's head turns left.
    
                   The Audi drives tandem to the Porsche with its passenger
                   window down.
    
                   Inside Katya aims her own pistol at Natasha and Chris. Dried
                   blood clots a cut on her temple. Dirt covers her face.
    
                   Chris aims his gun in return.
    
                                       KATYA
                             Pull over.
    
                                       NATASHA
                             This doesn't have to end like
                             Tanya!
    
                                       KATYA
                             Not if you return to the Room.
    
                                       CHRIS
                             Go to hell!
    
                                       KATYA
                             Don't worry, darling. I'll meet you
                             there.
    
                                       NATASHA
                             Let's talk this through!
    
                   BWAAAAAMM -- an 18-wheeler plummeting down the opposite way
                   blares its horn. Its lights nearly blind Katya and she SLAMS
                   the breaks.
    
                   Natasha drops gears and pounds on the gas, firing ahead.
    
                   The Audi JERKS back into the right lane, narrowly missing
                   impact with the truck.
    
                   WHACK WHACK WHACK -- bullets meet aluminum on the rear of the
                   Porsche. Bucky ducks.
    
                                       CHRIS
                             So much for negotiations.
    
                   He leans out his window and fires back. The Audi swerves
                   left.
    
                                       NATASHA
                             Chris, please!
    
                   The Porsche glides around the outside of a much slower pickup
                   truck. Chris saves his rounds.
    
                                       CHRIS
                             I don't know where you got this
                             empathetic vibe all of a sudden,
                             but this is about survival!
    
                                       NATASHA
                             Exactly. There are eight of us.
                             Eight!
    
                   Chris considers the significance of that number as the
                   Porsche floats back into its own lane.
    
                   The Audi passes the truck and picks up speed.
    
                   Another bullet WHIZZES by, snapping Chris back to reality.
    
                                       CHRIS
                             Fuck it.
    
                   He climbs halfway out the window, leans over the roof. Aims
                   again. Hits the Audi's passenger side window. Glass shatters. 
    
                   The Audi pulls in behind them. Chris slips back inside the
                   coupe to reload.
    
                   The Porsche hits max speed but the Audi easily catches up.
    
                   At the last second the Audi slows, then bolts forward,
                   SLAMMING into the rear of the Porsche. 
    
                   Katya decelerates for a second attack but the Porsche whips
                   into the left lane.
    
                   The Audi drives up next to the smaller car, staring Chris
                   down through her window. She swings out to the right.
    
                                       CHRIS
                             She's trying to ram us off the
                             road!
    
                   That gives Natasha an idea. She lifts her foot off the gas
                   and presses the clutch, waiting for the next blow.
    
                   The Audi veers back left about to hit the Porsche sideways
                   when Natasha YANKS the emergency brake.
    
                   She twists the steering wheel and the car does a backwards
                   180 before correcting and racing off the road, CRASHING
                   through a barbed wire fence and leaping onto the dirt.
    
                   Katya keeps sliding left until her wheels fly off the edge of
                   the pavement and she overcorrects, spinning out.
    
    
    
                   INT/EXT. PORSCHE - ARIZONA DESERT - TRAVELLING - NIGHT
    
                   This maneuver gains the Porsche some time as it bounces over
                   the rocky desert floor, kicking up dust.
    
                   Away from the road, it's now completely dark, save for the
                   Milky Way above.
    
                   Bucky peers back at the road. Soon the blue beams point in
                   their direction once again.
    
                   Chris digs through his Mary Poppins bag of weaponry and
                   reveals a rifle, loads it, turns to Bucky.
    
                                       CHRIS
                             Can you shoot?
    
                   Bucky glares at him in return, offended he would even think
                   to ask such a question.
    
                   He holds out his metal arm and Chris passes the gun.
    
                   Bucky leans his body back in between the two front seats.
    
                   Natasha's eyes plead with his.
    
                   Bucky nods solemnly then KICKS the rear window. The glass
                   buckles and most of the panel flies out in one chunk. 
    
                   It soars behind the Porsche and shatters on the ground. Tiny
                   pieces glitter in the Audi's headlights.
    
                   Bucky aims and FIRES. The Audi's lights swerve erratically.
    
                   He cocks the gun again and FIRES. But this time Katya's on
                   the defensive, zigzagging left and right. A miss.
    
                   The bumpy ground makes the tiny car jitter and lurch at every
                   moment. 
    
                   Another SHOT. Another miss.
    
                                       BUCKY
                             I can't get a good hit while she's
                             swerving like that!
    
                                       CHRIS
                                 (resolved)
                             Cut the lights.
    
                                       NATASHA
                             What? Are you crazy!?
    
                   Natasha dodges a crop of cacti.
    
                                       CHRIS
                             Cut the lights and hang a left. We
                             can lose her.
    
                                       NATASHA
                             She can still hear the engine!
    
                                       CHRIS
                             It'll be enough to shake her.
    
                                       BUCKY
                             Do it! She's following our lights.
                             She's not close enough to see us
                             with her own!
    
                   Natasha surveys the desert. It seems flat and open enough.
                   She holds her breath and FLICKS the light switch, knocks the
                   shifter into neutral.
    
                   Far behind them, the Audi slows, too, and steadies into a
                   straighter rhythm.
    
                   Bucky aims, breathes, FIRES. 
    
                   One of the Audi's headlights BURSTS, leaving only a single
                   blue glow as it skids sideways.
    
                                       CHRIS
                             Yes!
    
                   Natasha accelerates again, then switches on the lights only
                   to be on a head on collision course with a MASSIVE BOULDER.
    
                   She wrenches the wheel to the right but the tail whips out
                   from under them and the car ROLLS.
    
                   Bucky tumbles out the rear window. The roof lands on his
                   outstretched metal arm, severing it near his shoulder.
    
                   His arm flies one way, Bucky another.
    
                   The car keeps flipping over itself, again and again, tossing
                   glass and aluminum everywhere.
    
    
    
                   EXT. ARIZONA DESERT - NIGHT
    
                   The Porsche finally settles on its driver's side, drifts to a
                   stop and tips back upright, landing on its flattened wheels.
    
                   Natasha's red hair dangles out of her broken window. She
                   lifts her head, blinks, turns to Chris.
    
                   He's rubbing his face, scraped up but otherwise OK.
    
                   She unbuckles, gropes for the door latch and throws it open,
                   collapsing onto the sand.
    
                   She winces and grabs her knee while scanning the desert.
    
                   In the far background, the Audi zooms closer, one headlight
                   leading, engine sounds growing.
    
                   _Where's the gun?_ She crawls, dragging her legs.
    
                                       CHRIS
                             Here.
    
                   Still in his seat, Chris holds out the Glock. Natasha extends
                   her hand and he tosses it to her.
    
                   She checks the clip. Then, chest on the ground and arms out
                   in front of her, she aims. 
    
                   AT THE AUDI
    
                   As it speeds up on its approach. The single headlight beams
                   over the wreckage. 
    
                   AT THE PORSCHE
    
                   The light glints off Natasha's eyes. Deep breath and BAM.
    
                   Natasha holds her arms steady for a second, waiting.
    
                   Chris stumbles away from the car, keeping an eye on that
                   headlight.
    
                   The Audi slows but still heads straight for them. 
    
                   Natasha rolls out of the way as the car glides past, clips
                   the open door of the Porsche, and comes to a stop when it
                   bumps into a boulder. The engine stalls.
    
                   Natasha, catching her breath, looks to Chris. He returns her
                   gaze and nods as if to say "I'm alright."
    
                   Natasha tucks the pistol in her belt and approaches the Audi.
    
                   Meanwhile, Chris collects his fallen duffle, dusts it off,
                   then spies Bucky motionless in the dirt a few feet away.
    
                   Chris shuffles over, mumbling curses under his breath.
    
                   Bucky's on his back, metal arm missing, his face washed red
                   from the Audi's tail lights.
    
                   Chris squats beside him and smacks Bucky's cheek with the
                   back of his hand. 
    
                   Bucky lets out a moan, squeezes his eyes.
    
                                       CHRIS
                             There ya go...
    
                   Bucky opens his eyes, mumbles something. He sees this strange
                   face and out of instinct, he moves, but his arm isn't there.
    
                   He panics -- shouting in Russian, flailing and throwing his
                   head back. 
    
                   Chris braces Bucky's forehead with his palm, to keep him from
                   hitting his skull against the hard ground.
    
                   Bucky's words fade and he passes out again.
    
                   Chris checks Bucky's other arm. Pulls up his hoodie. No major
                   torso wounds.
    
                   BACK AT THE AUDI
    
                   Natasha opens the driver's side door.
    
                   Katya slumps in the seat. Her hair obscures a gunshot wound
                   in her neck. Blood drains down her shirt.
    
                   Natasha checks for a pulse. Dead.
    
                   Nat closes her eyes. This isn't what she wanted but she can't
                   do anything about it now.
    
                   Chris appears behind her as Nat pulls Katya's body out of the
                   car and lays her in the dirt.
    
                                       CHRIS
                             Your boy's lost his arm.
    
                   Nat's head swivels back and she sees Bucky unconscious.
    
                                       CHRIS
                             You should take care of his head or
                             he'll lose that, too.
    
                   He plucks the Glock from her waist, inspects the clip.
    
                   Ignoring him, Natasha staggers toward Bucky, a slight limp in
                   her left leg.
    
                   She finds the arm in the dirt. Drags it with her. Looks back.
    
                   With his bag over his shoulder, Chris walks off into the
                   darkness, south, spotlit by that one remaining headlight.
    
                                       CHRIS
                                 (yelling, without looking
                                  back)
                             I'll find you when you need me!
    
                   He slips into starry blackness.
    
                   Nat kneels at Bucky's left side. Places the arm above him.
    
                                       NATASHA
                             Hey, Barnes, wake up.
    
                   He moans, shakes his head. Then his eyes open wide and his
                   right hand FLINGS out, clamping her neck.
    
                   She instinctively plucks his hand away but his knee folds up
                   and PUSHES her stomach. 
    
                   He rolls her over on her back, pinning her neck with his
                   right forearm.
    
                   His left shoulder reels back like he's about to punch when he
                   realizes what's wrong.
    
                   Nat reaches up, fumbling. Grabs the severed arm. WHACK.
    
    
    
                   INT. SHITTY MOTEL ROOM - DAY
    
                   The door BANGS when it hits the wall.
    
                   Natasha drags a delirious Bucky into the room.
    
    
    
                   INT. SHITTY MOTEL ROOM - BATHROOM - DAY
    
                   She flips a switch. Florescent light flickers.
    
                   She guides Bucky into the tub. He trembles, barely awake and
                   muttering in Russian.
    
                                       NATASHA
                             Sit.
    
                   He obeys, squeezing his knees. He can't seem to hold his head
                   up and it rolls back against the tile.
    
                   QUICK SHOTS
    
                   -- Natasha fills a cup with sink water.
    
                   -- Holds Bucky's chin and makes him drink.
    
                   -- Smothers him up with blankets ripped from the bed. 
    
                   -- Slides a pillow behind Bucky's head.
    
                   -- Nat flips off the light and gently shuts the door.
    
    
    
                   INT. SHITTY MOTEL ROOM - BATHROOM - DAY - LATER
    
                   The bathroom door swings open again.
    
                   The light makes Bucky blink.
    
    
    
                   INT. SHITTY MOTEL ROOM - BEDROOM - DAY
    
                   Bucky sits on the bed huddled in blankets.
    
                   Nat, looking cleaner now, rifles through SHOPPING BAGS on the
                   dresser. Pulls out a FIRST AID KIT. Slides off her jacket.
    
                                       NATASHA
                             Take off your shirt.
    
                   He blinks, not registering.
    
                   She plops the kit down beside him and rolls his hoodie and
                   shirt off over his head. He looks to his left and jolts.
    
                   Natasha holds his shoulder steady and gets to work with
                   alcohol and bandages, cleaning his minor cuts.
    
                   He watches her, contemplating.
    
                                       BUCKY
                                 (with a Russian accent)
                             ...Tasha?
    
                   She freezes at the sound of her name, then refocuses.
    
                                       NATASHA
                             You have a concussion. Be still.
    
                   His eyes follow Natasha as she tears open plastic packaging,
                   plugs some tool into the wall.
    
                   She inspects the arm. Then his metal nub. It looks like the
                   arm snapped off at a joint. Torn wires jut from the "wound."
    
                   She puts on safety glasses. Checks a tool.
    
                                       NATASHA
                             Look away.
    
                   He complies.
    
                   Holding the arm between her knees she uses a small soldering
                   gun to reconnect the wires like Ayo did days before.
    
                   Bucky's eyes drift back to her.
    
                                       NATASHA
                             Look away.
    
                   But this time something catches his attention. 
    
                   His hand pushes her tank strap aside revealing scar tissue. 
    
                   The air catches in her throat when his fingers tenderly press
                   on her bullet wound.
    
                                       BUCKY
                                 (almost whispering)
                             I'm sorry.
    
                   He removes his hand and turns away from her.
    
                   She simply looks at him. Not knowing what to say.
    
    
    
                   EXT. SHITTY MOTEL ROOM - DUSK
    
                   The dusty Audi, with a smashed windshield and one busted
                   front corner, rests outside the motel room. The dirt makes
                   the battered paint look almost golden in the setting sun.
    
    
    
                   INT. FANCY EUROPEAN HOTEL ROOM - DAY - FLASHBACK
    
                   NATASHA'S POV: Everything is bright. Washed out. Blurred
                   edges.
    
                   The SOUND of a ticking clock. Gentle music from a radio.  
    
    The same tune Nat sang in the Dubai hotel room. Distant
                   traffic. Her own steady breathing.
    
                   Looking out over a balcony onto the winding streets below.
    
                   She turns back into the white room. Sheer curtains float in
                   the wind.
    
                   She sits on the edge of the bed. 
    
                   A man sleeps on his side facing away from her, partially
                   under a sheet. His exposed metal arm says it's Bucky.
    
                   Her finger traces the red star on his shoulder.
    
                   He rolls over. Squints. Eyes adjust to the light. Smiles
                   lazily.
    
                                       NATASHA
                             Zvezda moya...
    
                   He runs his right hand through his tangled hair. Says
                   something inaudible, clouded by memory.
    
                   She moves away but he gently pulls her back by the arm.
    
                   We don't need to understand the words to know she's playfully
                   scolding him.
    
                   She leans in closer. He lifts himself up on his elbows to
                   meet her for a kiss... then BLACK.
    
    
    
                   INT. SHITTY MOTEL ROOM - EARLY MORNING - IN THE PRESENT
    
                   Natasha jerks awake, gasping and gripping the arms of the
                   chair she fell asleep in.
    
                   Bucky sleeps much like in her dream. His arm reflects the
                   morning sun seeping in through a gap in the curtains.
    
                   Her eyes narrow.
    
                   QUICK SHOTS
    
                   -- Natasha stuffs her things in a bag. 
    
                   -- Put on her jacket. 
    
                   -- Leaves cash and the passport on the nightstand.
    
                   -- Daylight washes over the back of Bucky's sleeping head,
                   disappearing with a CLICK of the closing door.
    
                   -- He still sleeps as the Audi's engine fires up outside,
                   then fades away.
    
    
    
                   INT. LONDON CAFE - DAY
    
                   Natasha sits at a table wearing her standard uniform of tank
                   top, jeans, and leather jacket. She opens a manila folder and
                   flips through papers.
    
                   Opposite her are two women, LARA, a smiling Asian brunette
                   with both hands wrapped around a cup of coffee, and IRINA, a
                   stern blonde looking far less pleased than in their wedding
                   photo.
    
                                       IRINA
                             We're taking a big risk here.
    
                   Lara shoots Irina a silent LOOK. Bumps her with her elbow.
    
                                       LARA
                             Don't mind her. We're so happy to
                             see you, Natasha!
    
                                       NATASHA
                                 (motioning to the folder)
                             Thank you, truly.
    
                                       IRINA
                             All this was before our time at MI6
                             so we had to do some digging.
    
                   Lara leans forward, gently setting down her cup.
    
                                       LARA
                             In 2004 you and an unnamed male spy
                             made plans to deliver intel on
                             Madame Belova's operations with the
                             Red Room in exchange for asylum in
                             the U.K.
    
                                       NATASHA
                                 (under her breath)
                             Barnes...
    
                                       LARA
                             What?
    
                                       NATASHA
                             Nothing.
    
                                       IRINA
                             But you never arrived, never made
                             contact. The only thing they
                             received from you was this note.
    
                   She slides an envelope across the table.
    
                                       NATASHA
                             From Chris...
    
                   Natasha unfolds a photocopied sheet of paper with a series of
                   scribbled numbers.
    
                                       IRINA
                             Does it make any sense to you?
    
                   Natasha shakes her head "no". Turns her attention to
                   photographs of BELOVA'S ARREST.
    
                                       NATASHA
                             How'd they catch Belova in the end?
    
                   Irina leans back in her seat. Folds her arms.
    
                                       IRINA
                             Well, without your promised intel
                             the Brits couldn't go after her
                             directly.
    
                                       LARA
                             It was a joint agreement with the
                             Russians. Putin didn't want news of
                             the Red Room going public so he
                             compromised. Abandon the Room and
                             put Belova in a penal colony rather
                             than be prosecuted by the Hague.
    
                                       IRINA
                             They tricked her into meeting in
                             Moscow where they arrested her.
    
                   Lara places a MUG SHOT of Belova atop the other papers. In
                   the photo, Belova has a black eye and cuts on her face. She
                   certainly didn't go down without a fight.
    
                                       NATASHA
                             Why Moscow? Why not infiltrate the
                             Red Room? It's out in the middle of
                             nowhere, unpopulated, less risk of
                             collateral damage than in a city?
    
                   Irina and Lara look at each other, confused.
    
                                       IRINA
                             Because of the missiles.
    
                                       NATASHA
                             Excuse me, the what?
    
                                       LARA
                             The missile stockpile kept at the
                             compound? If Belova had even a hint
                             as to what was coming she could
                             have easily used the bombs
                             defensively, maybe even against
                             Moscow.
    
                   Nat picks up the paper, re-reading those numbers. Trying to
                   make a connection.
    
                                       NATASHA
                             Right, right... What happened to
                             the bombs?
    
                                       IRINA
                             There's no record on that. As far
                             as I can tell, MI6 doesn't even
                             know about them.
    
                   Natasha drops the paper and slams it with her fist.
    
                                       NATASHA
                             But the Russians certainly did.
                             What did they do with them? And why
                             release Belova after all these
                             years?
    
                   Irina looks to Lara. Lara shrugs.
    
                                       LARA
                             They only locked her away in the
                             first place to appease the Brits.
                             Maybe they felt sorry for an old,
                             sickly, wheelchair-bound lady with
                             a few months to live? What harm
                             could she do now? And she dedicated
                             her entire life to the Black Widow
                             program, to Russia. Maybe it's
                             about some sense of loyalty?
    
                                       IRINA
                                 (scoffs)
                             Lara, when have you ever known the
                             KGB to be loyal to anyone?
    
                                       LARA
                             Forget it. Regardless of reasons,
                             they wouldn't dare release her if
                             the missiles were still in play.
    
                                       IRINA
                             Maybe the Russians know something
                             we don't.
    
    
    
                   INT. LONDON HOTEL HALLWAY - DAY
    
                   Natasha's about to insert her key card only to find the door
                   to her room slightly ajar.
    
                   She slides one sleeve up to reveal her Widow's Bite. She
                   presses a button and the cuff lights up, ready to strike.
    
    
    
                   INT. LONDON HOTEL ROOM - DAY
    
                   Bucky waits on the edge of the bed facing away from the door.
                   He doesn't turn around. She lowers her wrist.
    
                                       BUCKY
                             I figured you'd go to London next.
                             I remembered you liked this hotel.
    
                   Only after she's standing in front of him does he look up.
    
                                       BUCKY
                             Give me a chance to explain.
    
                   Natasha pulls the photocopied paper from her jacket.
    
                                       NATASHA
                             Launch codes. For a missile
                             stockpile at the Red Room. Codes
                             that I changed before we were
                             supposed to defect _together_!
    
                   She shoves the sheet in his face but before he can read it
                   she snatches it back, stuffs it away.
    
                                       BUCKY
                             Launch...? I - I had no idea. You
                             were the one who planned everything
                             and didn't tell me in case I got
                             caught. I didn't even know where we
                             were running to!
    
                                       NATASHA
                             What did you think I was doing
                             before we left!?
    
                                       BUCKY
                             Forging documents, laundering cash,
                             how should I know!?
    
                   Natasha tries to keep her cool.
    
                                       NATASHA
                             James, why didn't you tell me
                             about... us? 
    
                                       BUCKY
                             I asked. You said you wanted to
                             remember on your own so I...
    
                   He rubs his face with his right hand. He can't look at her.
    
                                       NATASHA
                             When you said you "brought me in" I
                             thought you meant... No. No, no,
                             no, no...
    
                   Realization floods her face. She shakes her head. Backs away.
    
                                       BUCKY
                             I was trying to protect you.
    
                   He stands up, his arms out before him, pleading.
    
                                       NATASHA
                             How? By sending me back there? Back
                             to the Red Room!? How is that
                             protecting me from _them_?
    
                   She steps in closer, challenging him.
    
                                       BUCKY
                             Not from them. From _me_.
    
                   Bucky pushes her jacket off her left shoulder, taking her by
                   surprise. 
    
                                       BUCKY
                             I did this!
    
                   He digs a warm finger into her bullet SCAR.
    
                                       BUCKY
                             And this. 
    
                   His cold hand slides under the hem of her shirt, wrapping
                   around her lower back to the nasty exit WOUND on her abdomen. 
    
                   He presses her tightly to him with his metal arm.
    
                                       BUCKY
                             But before that, I did this.
    
                   He yanks the jacket down further and grips her bicep a little
                   too forcefully with his right hand. She winches.
    
                   His thumb traces a THIN LINE along the inside of her upper
                   arm -- a knife wound, perhaps?
    
                                       NATASHA
                             No... That's not right. That's
                             from...
    
                                       BUCKY
                             And this.
    
                   His fingers swim through her hair, pushing back strands to
                   expose a SCAR hidden at her temple. 
    
                   He holds her close, arm draped around her waist like they're
                   dancing. Hand cupping her face. Her eyes meet his. His voice
                   softens.
    
                                       BUCKY
                             I never wanted to hurt you but they
                             found me, turned me. I realized
                             that even if I managed to escape
                             there was no guarantee I couldn't
                             be controlled. I would _always_ be a
                             danger to you.
    
                   His face bends down to hers. Her body stiffens.
    
                                       BUCKY
                             I am the reason you don't remember.
                             I turned you in to Belova. I made
                             you forget you ever loved me.
    
                   Her expression morphs from shock to rage.
    
                   She SHOVES him away with both hands.
    
                                       NATASHA
                             You -- how could you!? You knew
                             what it's like! How could you let
                             them do that to me!?
    
                                       BUCKY
                             It was the only way I knew to keep
                             you safe! Believe me, I considered
                             other options but I didn't want to
                             cause you more pain. Besides, you
                             got out, later, sure. But you made
                             it out!
    
                   Natasha paces around the room, pulling up her jacket
                   defensively.
    
                                       NATASHA
                             In five years! It was another five
                             years before I was recruited by
                             SHIELD. But in those five years I
                             did things I can never take back, I
                             can never atone for! Sal Paolo, the
                             hospital! All because you thought
                             you could save me! Did none of
                             those people I killed, families I
                             destroyed, did none of them matter
                             to you?
    
                                       BUCKY
                             _You_ mattered to me! What was the
                             alternative? Let them kill you? Let
                             them make _me_ kill you?
    
                                       NATASHA
                             It wasn't your choice to make!
    
                   She stops in front of him, staring him down. He takes a deep
                   breath, holds his hands out to calm her.
    
                                       BUCKY
                             Natasha, I am so --
    
                                       NATASHA
                             Don't! After they... they erased my
                             brain, did they wipe yours, too?
                             Did you even remember me when you
                             attacked us on the freeway in D.C.?
                             Or in Berlin with Zemo?
    
                                       BUCKY
                             No, not then, I --
    
                                       NATASHA
                             Did they force it on you? No... Not
                             that time. You asked them to do it.
                             Because you knew what you did was
                             wrong and you didn't want to have
                             to live with the guilt!
    
                   She turns her back to him, eyes shut. He steps closer, holds
                   out his right hand. 
    
                   Before it touches her shoulder she whispers in Russian:
    
                                       NATASHA
                             Longing. 
    
                   Bucky freezes.
    
                                       NATASHA
                             Rusted.
    
                   He pulls his arm back.
    
                                       NATASHA
                             Seventeen. 
    
                                       BUCKY
                             No, no, no...
    
                   She turns to face him.
    
                                       NATASHA
                                 (louder)
                             Daybreak. Furnace.
    
                                       BUCKY
                                 (also in Russian)
                             Natalia, stop!
    
                   Panicking, he tries to cover her mouth with his palm. 
    
                   She blocks with her right forearm, aims her left cuff at his
                   forehead. It lights up.
    
                                       NATASHA
                             Nine. Benign.
    
                                       BUCKY
                                 (voice breaking)
                             Please, don't do this!
    
                   He trips. Stumbles to his knees. Scoots back against the
                   nightstand. Bumps the table lamp sideways.
    
                                       NATASHA
                             Homecoming. One. Freight car. 
    
                   Bucky huddles on the floor, shaking, covering his head like
                   he's bracing for impact.
    
                   But Natasha lowers her arm. Switches back to English.
    
                                       NATASHA
                             Leave. Go back to your ice box in
                             Wakanda. Go find Steve. I don't
                             care. Don't ever try to look for
                             me. Forget you ever knew me. I
                             never want to see your face again.
    
                   She strides to the door, grabbing a backpack on her way out. 
    
                   Bucky lowers his hands, overwhelmed, trying to breathe.
    
    
    
                   EXT. LONDON HOTEL PARKING GARAGE/STREET - DAY
    
                   Bucky, on a motorcycle, rides onto the quiet side street.
    
                   He's stoic, more composed now. Determined.
    
                   He stops at an empty intersection, waiting for the green,
                   when he hears the rumble of a looming ENGINE.
    
                   In the REAR VIEW MIRROR, a white VAN speeds toward him.
    
                   Bucky glances back, hops off the bike -- but it's too late.
    
                   The van SMASHES into his bike, throwing him onto the curb.
    
                   Brakes SQUEAK and a WOMAN wearing a hijab runs from the van
                   toward him.
    
                   BUCKY'S POV: His vision is hazy as he peers up at the sky.
                   The woman's face comes into view, kneeling over him.
    
                                       WOMAN
                                 (in a Pakistani accent)
                             Mister, Mister! Are you hurt?
    
                                       BUCKY
                             Oh, no...
    
                   As his vision clears, the woman pulls down her hijab and
                   smiles knowingly. She winks. Speaks in Russian.
    
                                       VERA
                             Hello, my dear Soldier. So nice to
                             run into you like this.
    
                   Then Anya appears next to her, hovering over him, blocking
                   out the sun.
    
                   She holds up a SHOCK STICK. When it hits him, Bucky lets out
                   a SCREAM.
    
    
    
                   EXT. NATASHA'S APARTMENT BUILDING - NIGHT
    
                   Natasha holds her mail with one hand while unlocking the door
                   with the other. 
    
                   The little black cat MEWS at her feet and follows her inside.
    
    
    
                   EXT. NATASHA'S APARTMENT - BALCONY - NIGHT
    
                   Natasha shakes the contents of a tuna can onto a plate on the
                   floor. The cat attacks the fish like she hasn't eaten in
                   weeks.
    
                   Nat picks up a glass of wine and relaxes on the brick ledge
                   of the balcony.
    
                                       NATASHA
                             Listen, Liho, I told you I didn't
                             mind you hanging around here. I
                             said I'd feed you every once in
                             awhile, but I'm not adopting you.
                             And you can't lick me. Seriously,
                             how could I take care of a cat? 
    
                   Liho takes a final lick of the plate then jumps into
                   Natasha's lap. Nat scratches the cat behind the ears.
    
                                       NATASHA
                             But don't go making this a thing.
                             No biting or scratching. No whining
                             at me, or I'm going to get upset,
                             got it? But as long as we're okay,
                             we're okay. 
    
                   BRRRING. Nat reaches for her phone.
    
                                       NATASHA
                             Lara?
    
                                       LARA (V.O.)
                             MI6 just received a random message
                             but I know it's for you. I'm
                             sending the picture right now.
    
                   She pulls the phone from her ear and an IMAGE loads on the
                   screen: Bucky's face, unconscious in a darkened room.
    
                   Nat bolts up from her spot. Liho leaps away with a tiny MEOW.
    
                                       NATASHA
                             It's Barnes. They have him.
    
                                       LARA (V.O.)
                             We know.
    
                                       NATASHA
                             I have to go get him, even though
                             that's exactly what they want.
                             Damnit, why did I say the words!?
    
                   She puts a palm to her forehead, anxious, pacing.
    
                                       LARA (V.O.)
                             We can get help. The British, the
                             Americans, we can get a task force,
                             do it covertly. Or maybe the
                             Avengers --
    
                                       NATASHA
                             No, I can't risk him getting
                             captured. Bucky is a wanted
                             fugitive. I have to do this myself.
    
                                       LARA (V.O.)
                             Natasha, _you're_ a wanted fugitive.
                             And we have your back.
    
    
    
                   EXT. NAPLES, ITALY - DOCKS - YEARS AGO - DAY
    
                   A much younger Natasha waits at the end of a pier, hair
                   coiffed, wearing a chic trench coat. She twists a tube of
                   lipstick and applies it while looking into a compact mirror.
    
                   IN THE REFLECTION
    
                   Bucky approaches behind her. His face is down but his eyes
                   are up, fists stuffed in his coat pockets.
    
                   Natasha snaps the compact shut, tucks it away. Bucky stands
                   beside her and they gaze out over the bay.
    
                                       BUCKY
                             I wasn't sure if you'd be here
                             after, well --
    
                                       NATASHA
                             I only just arrived. Had to take
                             care of some last minute business
                             at the Red Room. Call it _insurance_.
    
                                       BUCKY
                             That's not what I meant.
    
                   The backs of his fingers graze her upper arm. She flinches.
    
                                       NATASHA
                             Stitches. I'll be fine. 
    
                                       BUCKY
                             I'm sorry, Tasha --
    
                                       NATASHA
                             No, it wasn't you. I know that. And
                             it won't happen again. Not anymore.
                             I'll be sure of it. Ready to go?
    
                   He accompanies her aboard a small YACHT docked to their left.
    
                   She enters the hold first. Bucky glances behind him before
                   heading inside.
    
    
    
                   INT. SMALL YACHT - DAY
    
                   Bucky waits awkwardly along the wall of the little room, just
                   wide enough for a couch and a kitchenette.
    
                   Natasha gets to work, opening a drawer and pulling out a
                   stack of forged DOCUMENTS. Finds an Italian passport.
    
                                       NATASHA
                             Here's your pass--
    
                   She pauses with her arm outstretched as a younger, elegantly
                   dressed Madame Belova descends the stairs.
    
                   Natasha drops the passport and hardens her face.
    
                                       BELOVA
                             You've had your fun but it is time
                             you returned home, Natalia
                             Alianova. 
    
                   Nat ignores her and focuses on Bucky instead.
    
                                       NATASHA
                             Why do this? Now, after everything?
    
                                       BUCKY
                             It never would have worked, not
                             after --
    
                                       NATASHA
                             I had a plan! I had contingencies!
                             All you had to do was trust me!
    
                                       BUCKY
                             That's the thing. It's easy for me
                             to trust you but you can't trust
                             me. I can't trust me! I'm sorry --
    
                                       NATASHA
                             Save your apologies for yourself,
                             James.
    
                                       BELOVA
                             _James_? It seems you are more
                             resourceful than I thought.
    
                                       NATASHA
                             You trained us to uncover secrets.
                             Are you surprised that I discovered
                             his? Or _yours_?
    
                   Natasha steps in close to the other woman and cocks her head.
    
                                       BELOVA
                             Please, come willingly, Natasha.
    
                                       NATASHA
                             Or what? How many agents do you
                             have out there? Who are they? KGB?
                             Hydra? Red Room?
                             No, you wouldn't want the girls
                             knowing you let another one escape.
                             It might give them hope. Except
                             Anya, mommy's favorite. Mommy's
                             little recluse. You know she'd
                             never leave.
    
                   Natasha bends to pick up the passport.
    
                                       NATASHA
                             Is this how it ends, James?
    
                                       BUCKY
                             Yes.
    
                                       NATASHA
                             Not for me.
    
                   She rips it in half. The pieces fall in slow-motion and her
                   arms wrap across her torso, hands sliding inside her coat
                   like she's grabbing two guns.
    
                   In response, Belova reaches in her own jacket and pulls out a
                   revolver. 
    
                   Bucky shoves her arm away as the gun FIRES into the wall.
    
                   Instead, Natasha throws a SMOKE BOMB and covers her face with
                   a gas mask.
    
                   The room fills with gray clouds. More GUNSHOTS. Grunts.
                   Belova SCREAMS. CRACK.
    
    
    
                   EXT. NAPLES - DOCKS - DAY
    
                   Natasha darts off the yacht and onto the pier.
    
                   Armed HYDRA AGENTS pop out from cover on other boats and
                   block her path.
    
                   Using a pile of crates as a ramp, she LEAPS in the air,
                   TACKLING the first agent with her legs.
    
                   She swings, SLAMMING the man's body into the another man
                   behind him like bowling pins.
    
                   She rolls back on her feet, grabs an agent's RIFLE and SMACKS
                   the butt into his face then seals the deal with a KICK to the
                   gut. He falls off the pier into the water.
    
                   BACK AT THE YACHT
    
                   Bucky bursts through the door to the deck, gagging.
    
                   Belova climbs out after him, clutching her broken nose with a
                   handkerchief.
    
                   ON THE PIER
    
                   The Widow back KICKS an oncoming assailant then whips around,
                   snatches his knife from his hip pocket and slashes at
                   approaching enemies.
    
                   She zips past a large agent and parkours over a docked yacht,
                   flying several feet from the roof to the deck of a
                   neighboring SPEEDBOAT.
    
                   The frightened CAPTAIN dives into the water. With the engine
                   already running, Nat grabs the wheel and races into the bay.
    
                   AT THE YACHT
    
                                       BUCKY
                             She's better than them. Faster.
                             Smarter.
    
                                       BELOVA
                             But not as good as her.
    
                   Anya pulls up in another speedboat at the end of the dock.
                   She jumps off and runs to Belova, placing a palm to her face.
    
                                       ANYA
                             Mother, what did she do to you?
    
                   Belova whacks the girl's hand away.
    
                                       BELOVA
                             Go after her!
    
    
    
                   EXT. NAPLES - BAY - DAY - TRAVELLING
    
                   Anya helms her speedboat in pursuit of Natasha's.
    
                   A handful of Hydra boats join the chase.
    
                   Nat swerves to avoid traffic in the bay as she heads south.
    
                   ON ANYA'S BOAT
    
                   Belova plays backseat driver while Bucky sits behind,
                   concerned but silent.
    
                                       BELOVA
                             Turn, turn now! Faster! She's
                             getting away!
    
                   She glances back at Bucky.
    
                                       BELOVA
                             If she escapes it'll be your head.
    
                                       BUCKY
                             See if I care.
    
                   He glares at her, defiant. She pulls out a cell phone from
                   her pocket. Dials.
    
                                       BELOVA
                             Kill her.
    
                                       BUCKY
                             What?!
    
                   ON NATASHA'S BOAT
    
                   The surrounding Hydra boats speed ahead and agents begin
                   firing on Natasha.
    
                   She ducks her head and swerves, splashing water on a boat
                   that gets too close.
    
                   ON ANYA'S BOAT
    
                                       BUCKY
                             You wanted her alive!
    
                                       BELOVA
                             No, you wanted her alive. 
    
                                       BUCKY
                             Call it off now or I'll --
    
                   His metal hand forms a fist but Anya whips out a sidearm,
                   aims at him.
    
                                       BELOVA
                             Bring her in or I will. In a bag.
    
                   She snaps her fingers and Anya slows the throttle, turns back
                   and lifts the lid on a storage chest. Pulls out a RIFLE.
                   Hands it to him while still aiming her own gun.
    
                                       BELOVA
                             Hurry, Soldier. Their bullets won't
                             miss forever.
    
                   The boat slows to a drift and he kneels. It's a risky shot
                   with the movement of the water. He steadies his aim to the
                   rhythm of the waves.
    
                   THROUGH THE SCOPE
    
                   Natasha's boat heads straight for open sea. He spots the
                   back of her head. Then angles down to her torso standing
                   behind the wheel.
    
                                       BUCKY
                                 (whispering to himself)
                             Come on, come on. Move!
    
                   She turns her body sideways to look over her shoulder
                   exposing the steering column and gauges.
    
                   He FIRES. 
    
                   ON NATASHA'S BOAT
    
                   The bullet SMASHES into the speedometer, shattering glass and
                   shooting sparks.
    
                   Natasha backs up instinctively, letting go of the wheel. The
                   boat suddenly slows and curves to the left, right into an
                   oncoming Hydra boat.
    
                   They SLAM into each other and Natasha's boat tilts sideways,
                   throwing her with it. Her head smacks into the railing,
                   knocking her out. The whole thing rolls upside down. 
    
                   ON ANYA'S BOAT
    
                   Bucky immediately rams the throttle, speeding to the crash.
                   Satisfied, Belova motions for Anya to put away the gun.
    
                   Bucky doesn't bother slowing down as they approach the
                   overturned hull. 
    
                   UNDERWATER
    
                   He dives into the water, swimming until he finds her body.
    
                   ON THE SURFACE
    
                   Bucky holds Natasha upright as they bob in the wake. She's
                   covered in watery blood from the gash in her scalp.
    
                   Bucky's relieved when her eyes flutter open, but then she
                   remembers her anger. She spits saltwater in his face.
    
    
    
                   INT. RED ROOM COMPOUND - UNDERGROUND - NIGHT
    
                   Hydra agents drag Natasha kicking and screaming into a Soviet
                   era lab filled with computers, scientific equipment and what
                   looks like an evil dentist's chair.
    
                   Her forehead is bandaged, bloody. She flails erratically.
    
                   She's groggy, incoherent, wincing. Not in top form or else
                   she'd be giving these burly agents what for.
    
                   IN A SIDE ROOM
    
                   Bucky, Belova, and Anya watch from behind a two-way mirror.
    
                                       BUCKY
                             She's still in pain.
    
                                       BELOVA
                             She cannot be completely sedated.
    
                   IN THE LAB
    
                   Agents strap Natasha into the chair. They try to attach
                   monitors and but she wrests them away. They restrain her arms.
    
                                       NATASHA
                             You bastards! James! James!!
    
                   A HELMET lowers over her head.
    
                   BEHIND THE MIRROR
    
                   Electric sparks light up their faces. Bucky shuts his eyes.
    
                                       BUCKY
                             You can't just wipe her clean.
                             That'd be almost a year gone. 
    
                                       BELOVA
                             No, "selective memory replacement."
                             We'll give her new memories, in
                             keeping with her purpose, of
                             course. Though perhaps something a
                             little lighter, hmm? She's always
                             been an excellent ballerina.
    
                   Anya scowls in the background.
    
                                       BELOVA (CONT'D)
                             We could give her a past with the
                             Bolshoi. Wouldn't that be nice? Is
                             that what you want, Soldier?
    
                                       BUCKY
                             I want to be next.
    
                   Natasha SCREAMS.
    
    
    
                   INT. TRAIN - DAY
    
                   Her voice morphes into a TRAIN HORN.
    
                   Natasha peers out the car window. White flakes float outside.
    
                   A conductor passes down the aisle.
    
                                       CONDUCTOR
                                 (in Russian)
                             Tickets.
    
    
    
                   EXT. TRAIN PLATFORM - DAY
    
                   The train abandons Natasha and her suitcase at a modest open
                   platform on the edge of a tiny village somewhere outside
                   Moscow. 
    
                   As she proceeds into town, her feet leave valleys in the
                   freshly fallen snow.
    
    
    
                   EXT. FOREST - DAY
    
                   Natasha, now donned in all white tactical gear (a winter
                   version of her Widow suit, complete with silver WIDOW'S BITE
                   wrist cuffs and a red, hourglass shaped BELT BUCKLE),
                   trudges through the snow. Her red hair peeks out from under a
                   fur hat.
    
                                       CHRIS (O.S.)
                             You're sloppy. That trail will be
                             hard to miss.
    
                   She doesn't bother to look in his direction.
    
                                       NATASHA
                             They already know I'm here.
    
                   Chris appears from behind a tree and walks alongside her.
                   Loads a hunting rifle.
    
                                       NATASHA
                             I'm surprised you're here.
    
                                       CHRIS
                             I got tired of running.
    
                   He cocks the rifle.
    
                   A large compound of buildings looms in the distance,
                   sheltered by snow-covered forest.
    
    
    
                   EXT. RED ROOM - COMPOUND - DAY
    
                   The same view of the compound becomes the POV of a set of
                   binoculars held by Lara.
    
                   She lowers them as Chris and Nat approach the little camp
                   hidden just inside the edge of the trees where Lara, Irina,
                   and Ayo have been waiting.
    
                   Natasha gives Lara a hug, nods at Irina, then looks Ayo up
                   and down.
    
                                       NATASHA
                             Nice to see you again, Ayo. How is
                             T'Challa?
    
                                       AYO
                             My King is well. He learned of what
                             happened at the school and ordered
                             me to assist you.
    
                                       NATASHA
                             He ordered you?
    
                   Nat raises an eyebrow.
    
                                       AYO
                             I volunteered.
    
                   Chris brushes past.
    
                                       CHRIS
                             Tsk, tsk. You've obviously never
                             been this far north. Not dressed
                             for it.
    
                   Ayo adjusts her puffy coat. 
    
                                       CHRIS
                             This ain't Africa, lady. But it is
                             the heart of darkness.
    
                   He pulls Natasha aside.
    
                                       CHRIS
                             What were you thinking bringing her
                             here?
    
                                       NATASHA
                             You heard her. She's a volunteer.
    
                                       CHRIS
                             She's a liability.
    
                                       NATASHA
                             Ayo can fight as well as you.
    
                                       CHRIS
                             I don't doubt that but this place
                             is a maze. She'll get lost. I'm not
                             going to be her guide dog.
    
                                       NATASHA
                             We were all trained together. We
                             know each other's strengths and
                             weaknesses because we share them.
                             She's an unknown. We can use that
                             to our advantage. And if you don't
                             like it, well, she's not your
                             responsibility.
    
                   Nat brushes past him and the rest of the team gathers around.
    
                                       NATASHA
                             Thank you for being here. I know
                             you're angry. I know this is the
                             last place you want to be but
                             please remember, this is first and
                             foremost a hostage situation. Let's
                             keep everything under control and
                             we can all make it out of here
                             safely. If anything goes south, if
                             someone gets hurt, if you get a bad
                             feeling, I want you at the
                             extraction point. Don't take any
                             chances, don't be reckless.
    
                   Lara and Irina share a glance.
    
                                       NATASHA
                             Belova and what's left of her
                             loyalists are expecting me, but
                             they're not expecting you. Let's
                             keep it that way. I'll enter
                             through the front while you sneak
                             in from the east. Once we're all
                             inside and I have a better idea of
                             the situation, we'll rendezvous via
                             radio, got it?
    
                                       CHRIS
                             You're just gonna waltz on in head
                             first? You know it's a trap.
    
                                       IRINA
                             Of course it is. And that's how you
                             know she won't get caught in it.
    
                                       LARA
                             What if something happens to you?
    
                                       NATASHA
                             Then you do whatever it takes to
                             find Barnes and get the hell out.
    
    
    
                   EXT. RED ROOM COMPOUND - DAY
    
                   The main house at the fore of the compound is a regal, but
                   aged, early 20th-century brick MANSION, likely built just
                   before the revolution, then reappropriated for "public" use. 
    
                   To the side sits a series of long, metal, military block
                   buildings constructed some half a century later.
    
                   Behind, nestled into a shallow valley, are massively wide,
                   flat, windowless concrete structures almost entirely covered
                   by snow and topped with half a dozen RADAR DISHES. 
    
                   Like icebergs, only the tops of these bunkers peep up from
                   the earth. The majority of the mass digs deep underground. On
                   the roof of the largest structure is a helicopter LANDING
                   PAD.
    
                   Natasha, alone, plants a firm foot on each step as she
                   ascends to the mansion's entry doors.
    
                   When she reaches for the handle she notices the door is
                   already open.
    
    
    
                   INT. RED ROOM - MANSION - FOYER - DAY
    
                   Even though it's been abandoned for years, the interior is
                   still elegant with carved wood trim and delicate tile work.
    
                   Perfectly silent, Natasha walks further into the house. She
                   stands tall, ready, prepared.
    
                   Soft PIANO music lures her into  --
    
    
    
                   INT. RED ROOM - MANSION - PARLOR - DAY
    
                   -- a high ceilinged parlor with a fireplace. There she sees
    
                   BUCKY, hunched in a chair, in profile, silhouetted by light
                   from big bay windows on the far side.
    
                   She slides to her knees in front of him. Brushes his hair
                   aside and holds his face in her hands.
    
                                       BUCKY
                                 (drowsy)
                             Tasha?
    
                                       NATASHA
                             Oh, thank God...
    
                   A bulky metal device binds his left arm, rendering him
                   powerless to lift it.
    
                   The piano music ends.
    
                                       BELOVA (O.S.)
                             I feared I had forgotten that song.
                             You see, there was no piano in the
                             gulag.
    
                   Natasha looks back toward the doorway.
    
                   Belova rolls out from behind an upright piano in her
                   wheelchair.
    
                                       BELOVA (CONT'D)
                             How good it feels at last to be
                             home.
    
                   Natasha concentrates on detaching Bucky's restraint.
    
                                       BUCKY
                             Natasha, get out of here.
    
                                       NATASHA
                             What is this thing?
    
                                       BELOVA
                             Hydra was kind enough to lend us a
                             control devise along with their
                             asset.
    
                                       NATASHA
                             Let him go.
    
                                       ANYA (O.S.)
                             Give her the code.
    
                   Anya steps through the doorway, her finger on the trigger of
                   a small pistol. Natasha shakes her head and laughs.
    
                                       NATASHA
                             Ha! After all this and you still
                             don't know it?
    
                   Nat holds up Bucky's chin, smiles sweetly.
    
                                       NATASHA
                             You had the answer right here the
                             whole time.
    
                                       BUCKY
                             What are you doing?
    
                   She looks him in the eyes.
    
                                       NATASHA
                             It's his birthday.
    
                                       BUCKY
                             What? No!
    
                                       ANYA
                             Bullshit.
    
                   Nat's eyes shift to Belova's.
    
                                       NATASHA
                             Now let him go.
    
                                       BELOVA
                             You've never been one to be
                             sentimental, Natalia Alianova. I
                             have no patience for your games,
                             child. Tell me the code, now!
    
                                       NATASHA
                                 (rolling her eyes)
                             That _is_ the code. I gave you what
                             you wanted. Now unlock this thing!
    
                                       BELOVA
                             I see you will not be moved so
                             easily. Anya, would you do the
                             honors?
    
                                       ANYA
                             Happily, Mother.
                                 (speaking in Russian)
                             Longing.
    
                   Bucky twists in his seat.
    
                                       BUCKY
                             No!
    
                                       ANYA
                             Rusted.
    
                                       NATASHA
                             James, don't listen to her!
    
                                       ANYA
                             Furnace. Daybreak.
    
                   Anya moves slowly behind Bucky's chair.
    
                                       BELOVA
                             Tell me the answer.
    
                   Bucky screams and writhes. Nat struggles to hold him still.
    
                                       NATASHA
                             I already did! I swear. Belova,
                             stop this!
    
                                       ANYA
                             Seventeen. Benign. Nine. 
    
                   Natasha shakes her head. Tears well up in her eyes.
    
                                       BELOVA
                             This is your last chance. What is
                             the code!?
    
                                       NATASHA
                             This isn't you, James. Focus on me.
                             Focus!
    
                                       ANYA
                             Homecoming. One. Freight car. 
    
                   Bucky's demeanor shifts. He's calm, blank-faced.
    
                                       BELOVA
                                 (in Russian)
                             Soldier?
    
                                       BUCKY
                                 (also in Russian)
                             Ready to comply.
    
                   Natasha slowly gets up, body tense, defensive.
    
                   Anya unlocks Bucky's restraint. It cracks the tile when it
                   hits the floor.
    
                                       BELOVA
                             Kill her.
    
                   Natasha lifts her arm, aimed at Bucky. Her Widow's Bite cuff
                   glows blue with electricity.
    
                   The Soldier stands, stone-faced and tall. He takes heavy,
                   deliberate steps toward her.
    
                                       NATASHA
                             James, you don't want to do this.
    
                   She backs up until she meets the fireplace mantel. He keeps
                   advancing.
    
                                       NATASHA
                             James, please, it's me, remember?
    
                   The cuff's glow brightens, about to release the charge when --
    
                                       BUCKY
                                 (softly)
                             I remember.
    
                   In a split second his left hand snatches her outstretched
                   wrist. 
    
                   He whips around, blocking her body with his while aiming her
                   Bite at Anya. 
    
                   An electric ZAP hits the blonde in the chest. She SEIZES,
                   causing her finger to squeeze the trigger.
    
                   The BULLET punctures the left side of his abdomen.
    
                   Anya drops to the floor, the gun with her. Belova SHRIEKS.
    
                   Bucky wraps his arm around Nat's waist and he hurls them both
                   through the bay window.
    
    
    
                   EXT. RED ROOM - WOODS - DAY
    
                   Nat and Bucky land in snow outside the mansion. They roll to
                   their feet and run for the nearby forest.
    
                   They make it to the safety of the trees when Bucky tumbles
                   into the snow.
    
                   Natasha helps him sit with his back against a tree. Bucky
                   winces. Nat checks his injury.
    
                                       BUCKY
                             Guess we're even now, huh?
    
                                       NATASHA
                             No exit wound. Not good. Gotta get
                             you out of here. That was a
                             reckless move, even for you.
    
                                       BUCKY
                             I have a concussion, remember? You
                             can't expect me to make the best
                             decisions right now.
    
                   Natasha tries not to smile as she unpacks a bandage from her
                   thigh pocket.
    
                                       NATASHA
                             The trigger words -- what happened?
    
                                       BUCKY
                             After you said them in London I
                             realized they didn't work. Not
                             anymore. Don't know how. I was just
                             biding my time until I could get
                             that thing off my arm.
    
                                       NATASHA
                                 (with a laugh)
                             Maybe you need to get hit in the
                             head more often!
    
    
    
                   INT. RED ROOM - MAIN HOUSE - PARLOR - DAY
    
                   Belova shakes her daughter awake.
    
                                       BELOVA
                             Anya? Anya!
    
                                       ANYA
                                 (rubbing her temple)
                             I'm fine. Where did they go?
    
                                       ANYA
                             They're in the woods. Get after
                             them, girl!
    
                                       ANYA
                             What about y--
    
                                       BELOVA
                             Bring her to the control room!
    
                   Anya unsteadily climbs to her feet and looks to the window.
    
    
    
                   EXT. RED ROOM - WOODS - DAY
    
                   Natasha finishes tying Bucky's bandage.
    
                                       NATASHA
                             On your feet, soldier.
    
                   She turns to head further into the woods. Bucky stands.
    
                                       BUCKY
                             I remember there's an entrance to
                             the lower levels back this way.
    
                                       NATASHA
                             And the extraction point is this
                             way.
    
                   She keeps walking.
    
                                       BUCKY
                             Uh, excuse me? We can't leave yet.
    
                                       NATASHA
                             Watch me.
    
                                       BUCKY
                             You don't understand. I saw the
                             weapons control room. I saw the
                             maps. Once she gets the radar up
                             and running they'll be ready for
                             launch!
    
                                       NATASHA
                             Good.
    
                                       BUCKY
                             Good?!
    
                   She pulls a radio from her belt, about to switch it on.
    
                                       NATASHA
                             So she wants to blow up the Kremlin
                             or whatever! What do I care?
                             They're not nuclear bombs.
    
                   Bucky grabs her by the arm and pulls her to face him. Nat
                   drops the radio. She tries to reach for it but his metal arm
                   squeezes her too tightly.
    
                                       BUCKY
                             No, they're surface-to-air
                             missiles! She's not aiming them _at_
                             Moscow. She's going to take down
                             every international flight _into_
                             Moscow! Every other country will be
                             forced to retaliate. _That's_ what
                             she wants. World War III! She wants
                             the whole planet to suffer, not
                             just Russia. It may not start with
                             nukes, but it'll end with 'em!
    
                   Natasha bites her lower lip. Bucky relaxes his grip.
    
                                       NATASHA
                             See, this is why I don't tell you
                             things... First of all, I didn't
                             come back to this hellhole to save
                             the whole world. I came back to
                             save you!
    
                   He's too angry to be flattered.
    
                                       BUCKY
                             Is that why you handed the code
                             over so easily?
    
                   She turns away from him. Hands on her hips.
    
                                       NATASHA
                             I wouldn't call that "easy." I mean,
                             it was mostly the truth. Either way
                             they'll figure it out soon enough.
    
                                       BUCKY
                             So it's not my birthday?
    
                   She pauses, looks back.
    
                                       NATASHA
                             It is.
    
                                       BUCKY
                             March 10th, 1917?
    
                                       NATASHA
                             No, the other one.
    
                   He thinks it over for a moment, then remembers.
    
                                       NATASHA (CONT'D)
                             And second of all --
    
                   A GRENADE sails overhead and lands in the snow at their feet.
    
                   They both look down, then to each other, then they dive
                   behind opposite trees.
    
    
    
                   INT. RED ROOM - DORMITORY - DAY
    
                   Chris, Ayo, Irina, and Lara make their way through the long  
                   building lined with rusty beds when they hear the EXPLOSION.
    
                   Chris pulls out his radio.
    
                                       CHRIS
                             Natasha, come in... Natasha?
    
                   Irina tries her radio. Nothing.
    
                                       AYO
                             That was quicker than anticipated.
    
                                       IRINA
                             Our window just got tighter.
    
                                       CHRIS
                             Right. We ought to split up. One
                             team checks the main house, the
                             other, the extensions.
    
                                       LARA
                             Agreed.
    
                   Lara sits on one of the beds. The springs CREAK.
    
                                       CHRIS
                             Ok, Irina, come with me and we'll
                             take the downstairs.
    
                                       IRINA
                             Negative. Lara and I stay together.
                             Always.
    
                   Chris sighs. Ayo pretends not to notice his side-eye.
    
                                       CHRIS
                             Fine. Move out. Keep your radio on.
    
                   Ayo follows Chis out the door at the far end of the dorm.
    
                   Lara, still seated on the side of a bed, fumbles with a set
                   of handcuffs attached to the corner bedpost.
    
                   Irina waits at the door.
    
                                       IRINA
                             Larochka...
    
                                       LARA
                             I'm sorry. I was just thinking.
    
                                       IRINA
                             About?
    
                                       LARA
                             About how we aren't children
                             anymore.
    
                                       IRINA
                             We never were.
    
    
    
                   EXT. RED ROOM - DORMITORY - SNIPER'S SCOPE POV - DAY
    
                   Through a window we see Lara get up from the bed to leave
                   with Irina. 
    
                   The view quickly pans across, outside the building, until it
                   tracks Ayo and Chris treading through the snow toward the
                   back of the complex.
    
    
    
                   EXT. RED ROOM - MANSION - ROOF
    
                   Vera leans over from behind the sniper rifle, her eyes
                   following Ayo and Chris. 
    
                   She abandons the gun and climbs across the roof.
    
    
    
                   EXT. RED ROOM - WOODS - DAY
    
                   Bucky and Nat slog through knee-deep snow away from the
                   mansion.
    
                                       NATASHA
                             See that ridge, not much farther.
                             That's the extraction point. Get
                             there and you're safe. Got it?
    
                   Bucky huffs and puffs, about to protest when BOOM.
    
                   Another grenade explodes behind them. They both roll down a
                   short hill. Nat loses her fur hat.
    
                                       BUCKY
                             We won't reach it. Not in six feet 
                             of snow. We have to make a stand!
    
                                       NATASHA
                             I'll hold her off. Go! Now!
    
                   BOOM - again, a grenade. This time closer. Snow sprays over
                   them. Nat drags Bucky to his feet.
    
                                       BUCKY
                             I won't leave you here!
    
                                       NATASHA
                             You were always so stubborn!
    
                                       BUCKY
                             _I'm_ stub --?
    
                   Anya appears at the crest of the hill. Nat aims her wrist.
    
                                       ANYA
                             Ah, pillowtalk. Hope I'm not
                             interrupting.
    
                                       NATASHA
                             He's leaving. Stay back, Anya.
    
                                       ANYA
                             You don't deserve those.
    
                   Nat glances at her Widow's Bite.
    
                                       NATASHA
                             I earned them. Unlike you. You were
                             always Mommy's little recluse. Safe
                             in the big house. You were never a
                             real Black Widow. You never had to
                             fight to survive like the rest of
                             us.
    
                   Anya clenches her fists.
    
                                       ANYA
                             You'll regret that.
    
                                       NATASHA
                             I regret a lot of things.
    
                   Then she twists sideways and fires an electric CHARGE,
                   zapping Bucky in the neck.
    
                   Shocked, he collapses into the snow, unconscious.
    
                   Anya picks her jaw up off the floor as Nat aims at her again.
    
    
    
                   INT. RED ROOM - CONTROL ROOM - DAY
    
                   Anya and Nat, with her wrist still aimed, enter the Control
                   Room bunker. The door shuts automatically behind them.
    
                   Belova sits before an array of outdated computer screens and
                   switchboards. She rolls her chair to meet them.
    
                                       NATASHA
                             I came willingly. Now let's get
                             this over with.
    
                                       BELOVA
                             Forgive me if I don't believe you.
    
                                       ANYA
                             She wanted to spare the Soldier.
    
                                       BELOVA
                             Of course she did.
    
                   The headmistress reveals a revolver, aims it at Natasha.
    
                   Belova points the barrel off to the side, indicating. Nat
                   turns to see the CHAIR -- Hydra's mind control device.
    
                                       NATASHA
                             I thought you wanted me to remember
                             the code, not forget it again?
    
                                       BELOVA
                             It's a precaution.
    
                   Natasha hesitates. Then moves. Slowly. Breathing deeply as she
                   settles into the seat.
    
                   Anya pulls a lever and metal straps wrap her arms and ankles.
                   Natasha shifts uncomfortably.
    
                   Anya next unhooks Nat's Widow's Bite from each arm.
    
                                       ANYA
                             You'll not be needing these
                             anymore.
    
                   She snaps them onto her own wrists, flaunting.
    
                                       BELOVA
                             You've done well, child. Now
                             eliminate the Solider.
    
                                       NATASHA
                             Anya, that wasn't the deal!
    
                                       ANYA
                             But mother, don't you -- ?
    
                                       BELOVA
                             With her restrained I no longer
                             need you here.
    
                                       ANYA
                             But this moment -- I wanted to be
                             with you when --
    
                                       BELOVA
                             Do as you are told, girl!
    
                   Anya bites her tongue.
    
                                       NATASHA
                             She leaves and you get nothing!
                             Nothing, you hear me?!
    
                   She wriggles against the restraints.
    
                   Belova remains stern. Anya finally complies.
    
    
    
                   INT. RED ROOM - BELOVA'S PRIVATE OFFICE - DAY
    
                   Lara and Irina step into the room. A broad, intricately
                   carved antique desk is framed by tall, narrow windows.
    
                   On a side wall rests an old bed with some kind of medical
                   monitor set up next to it.
    
                   Irina inspects the bed. It's unmade, with a distinctive
                   depression in the center of the mattress.
    
                   Lara flips through stacks upon stacks of folders on the desk.
                   She sees one with her name on it, flips it open. Finds a
                   photo of herself paperclipped to a sheet. Frowns.
    
                                       LARA
                             She's obviously been staying here.
    
                                       IRINA
                             No kidding. But it wouldn't hurt to
                             make sure.
    
                   Irina nudges Lara aside and opens a lower cabinet. Pulls out
                   a half full bottle of vodka.
    
                                       IRINA
                             Gotta admit, the old hag liked the
                             good stuff.
    
                   She untwists the cap, takes a swig. Pushes everything off the
                   desk and hops on top. Leans back, offering Lara the bottle.
    
                   Lara folds her arms and tries not to smile. Irina takes
                   another sip then pats the desk and winks -- an invitation.
    
                                       LARA
                                 (scoffs)
                             We're working!
    
                                       IRINA
                             Come on, when are we ever going to
                             get an opportunity like this again?
    
                   The thud of FOOTSTEPS catches their attention.
    
                   Bucky leans against the door frame, clutching his side.
    
    
    
                   INT. RED ROOM - BASEMENT HALLWAY - DAY
    
                   Chris and Ayo peer through the tiny windows on the metal
                   doors into each darkened room along the hall.
    
                   All empty interrogation or isolation cells. A single chair,
                   maybe a desk or a bedroll in each one. Peeling paint on the
                   walls. A single dead light bulb on the ceiling.
    
                   Chris appears unfazed by it all but Ayo is increasingly
                   concerned. _What did they do to these children here?_
    
                                       LARA (V.O.)
                                 (over Chris' radio)
                             It's Lara, you copy?
    
                   He pulls the radio from his hip.
    
                                       CHRIS
                             We're four levels down. Any signs?
    
                                       LARA (V.O.)
                             We have the Soldier. On route to
                             the infirmary.
    
                                       CHRIS
                             Roger that. Chris out.
    
                   He clips the radio back on his hip.
    
                                       AYO
                             How do we get to the infirmary?
    
                                       CHRIS
                             We're not going there.
    
                                       AYO
                             But they have Barnes?
    
                                       CHRIS
                             And if they had Nat they'd've said
                             so. Which means we keep looking.
    
                   Chris opens the door to a stairwell at the end of the hall
                   while Ayo takes one last peek through a window into a cell.
    
                   But this time she sees a form -- a body lying slumped on the
                   floor, facing the back wall.
    
                                       AYO
                             There is someone in here.
    
    
    
                   INT. INFIRMARY - DAY
    
                   Bucky sits on a dusty medical bed while Lara unwraps his
                   makeshift bandage.
    
                   The fluorescents overhead flicker like they haven't been
                   turned on in ages.
    
                   Irina sets the vodka down beside Bucky then rifles through
                   cabinets behind him, searching for supplies.
    
                                       LARA
                             I always thought the great Winter
                             Soldier was infallible. I used to
                             be so frightened every time I saw
                             the Hydra helicopter outside. I
                             knew it was you they were bringing.
    
                                       IRINA
                             Remember how they'd line us up in
                             the training room so he could kick
                             our asses one by one?
    
                   Lara circles around to check his back. She bends down, brow
                   furrowed. Not good. Irina passes bandages and tools to Lara.
    
                                       LARA
                             When I was 12 they sent me on an
                             assignment with you. I was bait for
                             the target. After it was all over,
                             we took the train out of China.
                             At one of the stops, you left. I
                             didn't know where you went. When
                             you came back, you gave me
                             chocolate. You never said a word to
                             me the entire mission but you
                             bought me chocolate. First time I'd
                             ever had it.
    
                   Bucky holds his hands in front of his face. His flesh hand
                   trembles but his metal is still.
    
                                       LARA
                             The next time you came to train us,
                             you didn't remember me.
    
                   He takes the vodka and douses his metal fingers, then his
                   stomach. Alcohol drips on the floor. He sets the bottle down.
    
                                       IRINA
                             Hey, I said you could take a sip
                             not --
    
                   Bucky digs two vibranium fingers into his wound. Grits his
                   teeth. Pulls out the bullet, intact, and drops it beside him.
    
                   None of these people are squeamish and they've all felt their
                   share of pain, so nobody says a word.
    
                   Irina just shakes her head, picks up the bottle and gulps.
    
    
    
                   INT. RED ROOM - BASEMENT HALLWAY - CELL - DAY
    
                   The steel door CREAKS as Chris slowly opens it, riffle at the
                   ready.
    
                                       CHRIS
                             Stay there.
    
                   Ayo waits by the doorway. Chris clicks a flashlight attached
                   to his shirt pocket and it shines over a woman's body.
    
                   He uses the tip of the barrel to slide her brown hair away
                   from her face.
    
                                       AYO
                             Do you know her?
    
                   He looks back at the door.
    
                                       CHRIS
                             Yeah, it's Vera --
    
                   In a split second Vera's hand SWIPES his ankle out from under
                   him, throwing him off balance. Her other hand catches the
                   gun, pulls it back, then RAMS the stock into his stomach.
    
                   She flips up onto her feet and attacks Chris.
    
                   Ayo leaps in to help but Vera slips past her, out the door.
    
    
    
                   INT. RED ROOM - STAIRWELL - DAY
    
                   Vera dives up the stairs. It's dark, only a dim light from
                   the door at the very top, some four stories above. The grated
                   metal steps CLANG under her feet.
    
                   Chris barges after her, aims, FIRES. The bullet ricochets off
                   steel and punctures the wall. Vera ducks but keeps climbing.
    
                                       AYO
                             Careful!
    
                   Chris and Ayo chase Vera, catching up to her a couple floors
                   higher but it's nearly dark.
    
                   Ayo plucks a FLARE from her jacket, lights it and tosses it
                   below. The red glow, sparks and smoke fill the scene. 
    
                   SILHOUETTES of legs and arms spiralling as the trio battles
                   on the stairs.
    
                   Ayo swings over the rail ahead of Vera and SMACKS her in the
                   chest. Vera rolls halfway down a flight of steps.
    
                   Vera has to fight for every step closer to the surface.
    
    
    
                   INT. RED ROOM - BASEMENT PRACTICE ROOM - DAY
    
                   Irina, Lara, and Bucky pass through a wide training room with
                   two boxing rings and a set of bleachers on one side. The only
                   windows are high near the roof. They're one level deep.
    
                   None of them spot the figure waiting in the shadows of the
                   steel scaffolding on the ceiling.
    
                                       IRINA
                             There's only one door in or out of
                             the Control Room. We can't go in
                             there without a plan.
    
                                       LARA
                             Oh, and did your plan earlier
                             involve half a liter of vodka?
    
                   Lara glares at her but Irina averts her eyes. That stung.
    
                                       BUCKY
                             Irina's right. Nat's not stupid.
                             I'm sure she has an exit strategy.
                             But that doesn't mean we can rush
                             in blind.
    
                   All of a sudden, Anya GLIDES down from the ceiling like a
                   spider on silk and crash lands on Bucky's back, knocking him
                   down.
    
                   She rolls over the floor, disconnects the GRAPPLING HOOK from
                   her cuff and launches herself at Lara.
    
                   Lara dives for the still dangling wire and SWINGS over the
                   ropes onto the boxing ring. 
    
                   Anya jumps over the ropes and Lara attacks. 
    
                   This is what it must have been like years ago. Girls training
                   against each other to be the best. But this time it's life or
                   death.
    
                   Irina pulls out a PISTOL and aims but the two women are
                   moving too fast to safely shoot.
    
                   Anya reaches low and manages to shoot the Widow's Bite.
                   Electricity ZAPS Lara's leg. She rolls off the edge of the
                   ring, landing face down on the floor.
    
                   Anya jumps down, about to jab Lara with another sting when
                   Irina comes to the rescue.
    
    
    
                   EXT. RED ROOM - COMPOUND - DAY
    
                   Vera bursts through the exterior door out onto the snow.
    
                   She heads deeper into the valley and the back of the complex
                   toward the helicopter pad.
    
                   Chris and Ayo chase Vera across deep drifts until the snow
                   thins out over the concrete.
    
                   Chris pauses to aim his rifle.
    
                                       CHRIS
                             I've got her.
    
                                       AYO
                             Not yet!
    
                   Ayo runs out in front, blocking his view.
    
                   On open ground Ayo is fast. She hurtles forward and TACKLES
                   Vera, taking her by surprise with furious kicks and strikes.
    
                   All around them the RADAR DISHES rise up to the sky.
    
                   Vera's no match for the Wakandan. She struggles to stay
                   upright. Ayo is relentless, a second wave of energy in the
                   cold air.
    
                   At last Vera falls on her back, hands up. Surrender.
    
                   Chris practically shoves Ayo aside to point the rifle at
                   Vera.
    
                   Everyone's huffing and puffing, sweating through their coats.
    
                                       VERA
                             Are you expecting me to beg?
    
                                       CHRIS
                             I expect you to shut up!
    
                   Ayo puts a hand on his shoulder.
    
                                       AYO
                             Don't do this. It is a mistake.
                             Believe me.
    
                                       CHRIS
                             Stay out of it! It's not your
                             problem.
    
                   He jerks his shoulder away. Steadies his aim again.
    
                                       AYO
                             How many?
    
                   Vera's skeptical, glances at Ayo. Chris doesn't take his eyes
                   off Vera.
    
                                       AYO
                             How many?
    
                                       CHRIS
                             What are you on about, lady?
    
                                       AYO
                             What is it now? Eight? Eight of you
                             left?
    
                   Chris falters. The gun tips down a centimeter. He takes a
                   breath.
    
                                       CHRIS
                             Goddamnit... It's seven. I won't be
                             the one who makes it six.
    
                   Vera looks to Chris, lowers her hands. He aims once more, but
                   this time without the anger in his eyes.
    
                                       CHRIS
                             Get up.
    
                   A sudden SHIFT. The concrete below them GROANS and begins to
                   split along a fault line in the middle of the big "H."
    
                   The ground is, in fact, two giant retractable DOORS sliding
                   apart revealing an underground bunker.
    
                   The dividing line is just beyond Vera's head. She looks up to
                   see Chris's eyes go wide. His jaw drops along with his aim.
    
                   When she rolls her head around she sees
    
                   THE WEAPONS STOCKPILE
    
                   Sunlight seeps over hundreds of tall, skinny ROCKETS, each
                   paired with a launcher and standing at attention in neat rows.
    
                   After a moment of shock Vera scrambles to her feet and all
                   three of them bolt as fast as possible toward the mansion as
                   the doors spread wide.
    
    
    
                   INT. RED ROOM - CONTROL ROOM - DAY
    
                   Belova presses a button and metal shutters along the wall
                   raise up revealing a window overlooking the massive basement
                   storage room filled with row upon row of MISSILES.
    
                                       BELOVA
                             A prime place to hide a weapons
                             stockpile, wouldn't you think? Only
                             the highest-ranking Soviet
                             officials were trusted with this
                             secret and no outsider would ever
                             suspect such a thing from a girls'
                             ballet academy. And if any
                             infiltrator discovered the truth,
                             well, who could get past twenty
                             eight of the deadliest assassins in
                             the world?
    
                                       NATASHA
                             Shows how far you've fallen. You
                             use to be one of the trusted few.
                             Now you're forgotten.
    
                   Belova frowns, rolls toward the control board.
    
                                       BELOVA
                             No one expects honestly from a spy,
                             spiderling. But you are not wrong.
    
                   A green-on-black screen flashes a MAP of Western Russia. Half
                   a dozen moving DOTS indicate aircraft targets.
    
                                       BELOVA
                             I was proud of the work I did here.
                             Until some uniformed sycophant
                             decided I was no longer an asset
                             but a burden on foreign relations.
                             I gave my life to the Red Room, the
                             KGB, both as a student and a
                             teacher. And now they repay my
                             dedication by taking my final
                             years! Locked up until I wasted
                             away. They won't get that luxury!
    
                   The screen loads the words "READY FOR LAUNCH: CODE REQUIRED"
                   in Russian. A cursor blinks.
    
                                       BELOVA
                             Enough waiting. The code.
    
                   Natasha keeps her mouth shut.
    
                                       BELOVA
                             The code, girl!
    
                                       NATASHA
                             Twenty one. Zero one. Nineteen.
                             Fourty-five.
    
                   Belova smiles as she types the digits.
    
                                       BELOVA
                             Ah, I see now. Not the birth of
                             James Barnes but of the Winter
                             Soldier. Fitting.
    
                   Belova smiles as the numbers scroll across the screen. Then
                   her smile fades as the dots on the map disappear. "SELF
                   DESTRUCT SEQUENCE INITIATED."
    
                                       BELOVA
                             What did you do!?
    
                   Now it's Natasha turn to smile.
    
                   Belova rolls to the chair. Aims the revolver with a wobbly
                   hand.
    
                                       NATASHA
                             Nah-ah-ah. Not this time, Belova.
    
                                       BELOVA
                             You did this. You hacked the
                             computers all those years ago. You
                             knew what would happen this entire
                             time!
    
                                       NATASHA
                             No, not until recently. That part
                             of your plan worked.
                             But if I'm going to stop those
                             bombs from blowing us from here to
                             eternity I can't do it strapped in
                             this thing.
    
                   In a huff, Belova releases the restraints, her gun still
                   aimed at Natasha.
    
                   Natasha gets down, rubs her wrists, taking her sweet time.
    
                                       BELOVA
                             Well, get to it!
    
                   She leans in front of the computer screen, reading the count
                   down clock. Belova rolls up behind her.
    
                                       NATASHA
                             See, I didn't just hack the
                             computer. I re-wrote the entire
                             launch software. There's no way
                             anyone could stop it. Not in time.
                             Not even me. I made sure of that.
                             If it could be halted or
                             dismantled, don't you think the
                             government would have done it years
                             ago? Why else would they leave an
                             arsenal like this to rot? You're a
                             fool, old woman.
    
                   Natasha BACK KICKS Belova's wheelchair. It slams
                   into the wall. 
    
                   Nat nab a hand-held RADIO off the desk. Races out of the
                   bunker.
    
                   POP. POP. POP. The bullets miss. Belova SCREAMS.
    
    
    
                   INT. RED ROOM - BASEMENT PRACTICE ROOM - DAY
    
                   Anya jabs at Irina but she blocks, twists, pins Anya's neck
                   in a headlock. She pushes Anya onto her back on the floor.
    
                                       LARA
                             Irina!
    
                   Irina's head jolts up at the sound of her wife's voice.
    
                   Anya takes the chance to swing up her legs and wrap Irina's
                   face with her thighs.
    
                   She rolls Irina over, face down. A SPIKE extends out from one
                   of the Widow's Bite slots and she jams it into Irina's ankle.
    
                   Irina WAILS in agony.
    
                   Bucky comes up from behind and captures Anya by her hair,
                   THROWING her back.
    
                   Lara rushes to Irina's aid.
    
                   Anya slides to a stop. Whips out a SHOCK STICK attached to
                   her thigh. It lights up as she twirls it. 
    
                   Bucky marches over to her, careful to only block with his
                   metal arm. 
    
                   The stick BUZZES and SPARKS with each hit. He winces but
                   keeps fighting until he grabs the weapon and crushes it
                   between his fingers.
    
                   He then lifts her into the air by the front of her suit. His
                   right arm clutches his side, rage fueling him through the
                   pain.
    
                                       ANYA
                             What the hell did Hydra do to you?
    
                   The building RUMBLES. Everyone looks in different directions. 
    
                   Fear streaks across Anya's face. She flings her legs up and
                   KICKS Bucky in the stomach.
    
                   He reels over, gasping, dropping the Widow. She escapes out
                   the back door.
    
                   Bucky's about to chase after her --
    
                                       NATASHA (V.O.)
                                 (on the radio)
                             Anybody read me?!
    
                   He turns back to the women. Grabs the radio on Lara's hip. 
    
                                       BUCKY
                             Natasha!
    
    
    
                   INT. RED ROOM - BASEMENT HALLWAY/BASEMENT PRACTICEROOM ROOM -
                   DAY - INTERCUT
    
                   Natasha, radio in hand, barrels down the hallway away from
                   the Control Room.
    
                                       NATASHA
                             Barnes? Did you find the others?
    
                                       BUCKY
                             We have casualties.
    
                                       NATASHA
                             Look, you've got about five minutes
                             to get topside before this whole
                             place caves it. Find everyone you
                             can and get them to the western
                             ridge. Remember where I showed you?
    
                                       BUCKY
                             God, Nat. You could have told me! 
    
                                       NATASHA
                             There wasn't time.
    
                                       BUCKY
                             Anya's on her way. Where are you?
    
                                       NATASHA
                             Don't worry about me.
    
                                       BUCKY
                             No, I'm not leaving without you.
    
                                       NATASHA
                             I told you, get out of here!
    
                                       BUCKY
                             Natasha, please! You were the only
                             choice I made for myself in sixty
                             years and I gave it up. I gave _you_
                             up! I can't do that again. Let me
                             make this choice now. Tell me where
                             to find you.
    
    
    
                   INT. RED ROOM - BASEMENT HALLWAY - DAY
    
                   Natasha slows, listening to his words. When she looks up,
                   Anya is waiting for her at the other end of the hall.
    
                                       NATASHA
                             I'll meet you on the other side,
                             James. I promise.
    
                   She tosses the radio behind her.
    
    
    
                   INT. BASEMENT TRAINING ROOM - DAY
    
                   Bucky looks down at the radio. Static.
    
                                       BUCKY
                             Natasha? Nat -- !
    
                   Lara places a gentle hand on his arm.
    
                                       LARA
                             She can't walk without help.
    
    
    
                   INT. RED ROOM - BASEMENT - DAY
    
                   Belova, furious, wheels as fast as her weak little arms can
                   take her through a passageway to a manually operated
                   elevator. 
    
                   She loads in, pulls a lever. The elevator ascends slowly.
    
    
    
                   INT. RED ROOM - BASEMENT HALLWAY - DAY
    
                   Nat and Anya stare each other down. Nat's hands form into
                   fists.
    
                   Anya moves in first, her cuffs glowing.
    
                   But instead of meeting her, Nat turns tail and runs in the
                   opposite direction.
    
                   Anya follows, firing electric BOLTS. Nat dodges by 
                   zigzagging side to side. 
    
                   Natasha detaches something from her belt, turns and SMASHES
                   it on the ground. Iridescent LIQUID splashes everywhere.
    
                   A stray electric spark IGNITES the oil in a WOOSH.
    
                   Anya halts in her tracks then LAUNCHES through the flames.
    
                   AHEAD
    
                   Nat releases a mini-sticky GRENADE from her belt. Tosses it
                   up to the ceiling.
    
                   It DETONATES with a small explosion but Anya manages to SLIDE
                   across the tile at the last second, still in pursuit while
                   the ceiling collapses behind her.
    
                   FURTHER AHEAD
    
                   Nat grabs another trick from her belt with both hands. 
    
                   She spins around and whips two ends of a TRIP WIRE to each
                   side. The hooks grip the walls, spanning the width of the
                   hall.
    
                   Nat turns a corner as Anya speeds up.
    
                                       ANYA
                             Stop running, Natasha!
    
                   She smacks into the wire, TUMBLING head over tail. She lands
                   on her back, moaning. 
    
                   In her UPSIDE DOWN POV she watches Natasha saunter up in
                   front of her. Nat bends her knee and flicks her ankle.
    
                   A short KNIFE extends from her boot heel with a CLICK.
    
                   Anya comes to her senses, rolls over and hops to her feet.
    
                   They're at it again, this time with Natasha lashing her
                   bladed boot at Anya's face. Anya blocks with her cuffs.
    
                                       NATASHA
                             Those weren't made for you. If they
                             were you'd know --
    
                   She holds her arm out and fires but... nothing comes out.
                   Anya pauses, baffled, examines her cuff.
    
                                       NATASHA
                             -- there's a finite number of
                             charges!
    
                   Nat gut punches her. Taps her heel down on the tile,
                   retracting the blade and darts off.
    
    
    
                   INT. RED ROOM - CONTROL ROOM - DAY
    
                   The count down on the monochrome screen BEEPS 10. 9. 8. 7.
    
    
    
                   EXT. RED ROOM COMPOUND - DAY
    
                   Vera, Chris and Ayo sprint away from the compound as fast as
                   possible. 
    
                   Chris ditches the gun and they dive into a snowbank when the
                   bombs EXPLODE in quick succession, rattling the valley. 
    
                   The concrete surrounding the launch bay CRUMBLES, snow from
                   the nearby hill slides down burying part of the dormitories.
    
                   The mansion shakes so much that the back half collapses.
    
                   ELSEWHERE
    
                   Lara and Bucky pull Irina from a steel basement hatch in the
                   ground just in time. Everything QUAKES.
    
                   Bucky shields the women as snow and ash covers his back.
    
    
    
                   INT. RED ROOM - BASEMENT PRACTICE ROOM - DAY
    
                   Inside, the building SHUDDERS, throwing both Nat and Anya to
                   the ground. 
    
                   The roof CRACKS. Walls start to BUCKLE. Lights flash and
                   bulbs BURST, spraying sparks. A race against time.
    
                   Natasha scrambles to her feet but Anya shoots a grappling
                   hook at Nat's leg, YANKING her down and REELING her in.
    
                   Nat pushes herself up to her knees when Anya takes the rope
                   and WRAPS it around Nat's neck.
    
                   Now the far side of the training room is CAVING IN. 
    
                   The steel scaffolding SCREECHES as the girders bend and snap.
    
                   Natasha digs her fingers under the wire, struggling to
                   breathe. 
    
                   Anya SQUEEZES tighter.
    
                   Nat's hand fumbles for Anya's wrist. Finds a slot on the
                   cuff. Presses a BUTTON.
    
                   Green GAS spurts from the cuff right into Anya's face. 
    
                   She drops the rope, GAGGING. 
    
                   Natasha scurries away toward the exit.
    
                   Behind her the floor CRUMBLES, dropping to the level below,
                   taking the ceiling -- and Anya -- along with it.
    
                   Nat dives for the door but the splitting concrete catches up
                   to her, breaking off in one big chunk. 
    
                   She loses her balance and rolls down to 
    
                   THE LEVEL BELOW
    
                   Natasha coughs as the dust clears. 
    
                   A few feet away, Anya lays face down, arms out, crushed by
                   steel and debris.
    
                   Nat crawls to her. Unhooks the cuffs from her wrists.
    
                                       ANYA
                                 (wheezing)
                             Save her, please. You must know
                             that everything I did was for her.
    
                   Anya's body goes still. 
    
                   Natasha stands up. Snaps the cuffs to her own arms.
    
    
    
                   INT. RED ROOM - MANSION - DAY
    
                   Belova struggles to navigate her wheelchair over the cracked
                   and crumbling floor. 
    
                   Daylight drifting in from broken gaps in the roof illuminates
                   spots here and there. 
    
                   She hears FOOTSTEPS in the shadows behind her. She raises her
                   gun but her feeble hand shakes too much to aim.
    
    
    
                   EXT. RED ROOM - WESTERN RIDGE - DAY
    
                   Somehow, the survivors make it to the western ridge - a high
                   clearing overlooking the forest and the destroyed complex
                   below.
    
                   They gaze across at the shocking sight of smoking, burning
                   rubble against white snow.
    
                   Bucky starts stumbling back down the hill but Chris stops
                   him.
    
                                       CHRIS
                             Whoa, whoa. You're in no shape to
                             be going anywhere. She's tough.
                             She'll make it. Just wait.
    
    
    
                   INT. RED ROOM MANSION - FOYER - DAY
    
                   Natasha carries Belova into the collapsed foyer.
    
                   The tile floor is shattered. Beams split. The entire back of
                   the house tips at an angle. Entry door blasted off. Only the
                   front facade of the house remains upright.
    
                   A ramp made of broken boards and plaster leads to a column of
                   SUNLIGHT spilling in from the entrance. 
    
                   The hazy glow illuminates the two women like battered angels.
    
                                       BELOVA
                             I was wrong about you, spiderling.
                             You were the best of the best. The
                             culmination of a lifetime of work.
                             Trained to be cruel, ruthless. I
                             suppose that is my ultimate
                             failure. No matter what I taught
                             you, deep inside, you are soft
                             hearted. Too gentle. Look at you.
                             You would have died trying to save
                             an old woman after all I've done.
    
                                       NATASHA
                             Who said anything about saving you?
    
                   Natasha unceremoniously drops the woman and climbs over
                   rubble.
    
                   She lifts debris and tosses it aside, clearing a path to the
                   doorway.
    
                                       NATASHA
                             You know, Marina and I had a little
                             chat before she killed herself.
                             Before you drove her to that. 
    
                   Belova rolls on her back, holds herself up on her forearms.
    
                                       NATASHA
                             She asked if I'd had a choice
                             between the Red Room or living my
                             own life, what would I have chosen?
                             The scary thing is -- there was a
                             time when I would have picked the
                             former.
    
                   Natasha pulls the revolver from her belt. Looks it over as
                   she glides closer and closer to the headmistress.
    
                   Belova scoots back on her hands, laboring to make space
                   between her and the encroaching Widow.
    
                                       NATASHA
                             See, you were right the first time.
                             I am not a nice person.
                             I've done bad things. Even when I
                             didn't have to. Even when there was
                             no one guiding my hand. You didn't
                             make me this way. I did.
    
                   Natasha kneels down before the fragile old woman. Belova sobs
                   in fear.
    
                                       BELOVA
                             Please, have pity!
    
                   Natasha grabs the woman by her shoulder and shakes her.
    
                                       NATASHA
                             It's over! Don't you see? No one is
                             coming to help you. The rest are
                             dead. And you no longer matter to
                             anyone!
    
                   She shoves Belova down and stands up. 
    
                   She methodically unloads the remaining bullets from the gun, pocketing
                   each -- save one.
    
                                       NATASHA
                             I'm giving you a option. That's
                             more than you ever gave any of us.
    
                   She aims at Belova's face. The woman whimpers.
    
                                       NATASHA
                             One shot. You can either get your
                             revenge or you can spare yourself
                             the agony of starvation. Your choice.
               
                   The revolver spins around her index finger and she offers the
                   handle to Belova.
    
                   The woman doesn't take it so Nat tosses it at her feet. 
    
                   Without a second glance, Natasha turns to leave.
    
    
    
                   EXT. RED ROOM - WESTERN RIDGE - DAY
    
                   Far away on the hill, Bucky and the survivors watch the
                   scene.
    
                   Smoke billows in the sky but otherwise, all is still and
                   silent.
    
                                       BUCKY
                             I can't take it. I'm going back in.
    
                                       CHRIS
                             Wait.
    
                   Chris' outstretched arm stops him as they spy movement at the
                   mansion doorway.
    
    
    
                   EXT. RED ROOM MANSION - DAY
    
                   All eyes on the wooden door frame.
    
                   Natasha's face rises into view as she climbs over debris to
                   freedom. 
    
                   First, a crown of red hair, 
    
                   then stoic eyes, 
    
                   bruised neck, 
    
                   shoulders, and 
    
                   BAM - a single gunshot.
    
                   She freezes. 
    
    
    
                   EXT. RED ROOM - WESTERN RIDGE - DAY
    
                   The sound ECHOES up the hill.
    
                   Bucky breaks from Chris' grasp and races toward the mansion.
    
    
    
                   EXT. RED ROOM - MANSION - DAY
    
                   Natasha rises once again. 
    
                   Her torso passes through the frame, unharmed.
    
                   Her boots carry her across the front steps.
    
                   Behind, inside the darkened ruin, Belova lays slumped on the
                   floor.
    
    
    
                   EXT. RED ROOM - WESTERN RIDGE - DAY
    
                   Bucky meets Natasha halfway down the hill.
    
                   Exhausted, she collapses into the snow. 
    
                   Bucky falls to his knees. Cradles her in his arms, relieved
                   and grateful.
    
                   Her eyes angle up to meet his and she kisses him.
    
                   Their lips break free when the sound of an AIRCRAFT grabs 
                   their attention.
    
                   AT THE CREST OF THE HILL
    
                   The Wakandan Jet, piloted by Sister Sophia, lowers beside 
                   the survivors. The wounded load in first.
    
                   Arms around each other, Bucky and Natasha limp uphill. 
                   She takes one last long look goodbye.
    
                                       NATASHA
                             Take me home.
    
    
    
                   EXT. NATASHA'S APARTMENT BUILDING - DAY
    
                   Back in Prague, Natasha unlocks the door to the building
                   after collecting her mail. 
    
                   This time she notices Liho the cat is missing.
    
    
    
                   INT. NATASHA'S APARTMENT - DAY
    
                   Once inside, she tosses the envelopes on the table. Spots the
                   balcony door ajar. 
    
                   Her eyes narrow. Then she smiles.
    
    
    
                   EXT. NATASHA'S APARTMENT - BALCONY - DAY
    
                   Natasha steps onto the balcony where Bucky leans on the
                   brick ledge with Liho, purring, curled up in his lap. Metal
                   fingers scratch the cat behind its ears.
    
                                       NATASHA
                             You know, when I said you could
                             visit, I meant visit _me_.
    
                   She scoops up the feline who MEWS in response.
    
                                       NATASHA
                             _Not_ my cat. Isn't that right, Liho?
    
                   She settles down on the other side of the balcony. Liho
                   readjusts to her new spot and purrs.
    
                   Nat and Bucky both smile, staring out at the sunset 
                   over the city, peaceful for now.
    


	2. Mobile version

**Summary for the Chapter:**

> This chapter is the same as the first chapter - it's just formatted to read better on mobile. If you're on desktop you can read Chapter 1 for the proper screenplay format.

**INT. DUBAI HOTEL - ROOM 2400 - DAY**

Tight focus on a SPIDER, peacefully spinning its web.

A woman's FACE appears behind it, inching closer until --

BLACK -- then a feather duster pulls back, revealing the spider and its web tangled up in it.

The face, clearer now: a MAID, late 40s, squints at the dead arachnid.

She works in a luxury hotel room, a supply cart next to her. She hums a little tune to herself while she cleans.

 

**INT. DUBAI HOTEL - HALLWAY - DAY**

The maid closes the hotel room door behind her.

A TOURIST stops by the cart as she turns around. 

TOURIST  
May I have an extra towel?

The maid simply nods and reaches down to grab a towel.

That's when she sees a BUSINESS MAN exit a room a few doors down - #2407.

He talks in Arabic on his mobile and walks in the opposite direction.

The tourist mumbles his thanks and moves on.

The maid's eyes follow the businessman until he turns the corner.

Then she pushes the cart past the other rooms to #2407.

A KEY CARD dips into the slot and the light blinks green. 

 

**INT. DUBAI HOTEL - ROOM 2407 - DAY**

Inside, she tosses towels haphazardly from her cart onto the carpet, still humming her song. 

She pauses, as if puzzled by the tune, like she can't remember how it goes. She corrects her notes and keeps humming.

Then she uncovers a black metal SUITCASE and pops it open.

Handguns, wires, and electronics fill the case.

CLOSE UP SHOTS OF: 

\-- The woman's hands loading the GUN.

\-- Her maid UNIFORM dropping to the floor.

\-- Black FABRIC rolling up her leg.

\-- A metal BELT clicking closed.

\-- Metal CUFFS snapping over her wrists.

And at the mirror over the dresser -- her gloved hands simultaneously peel away her electrostatic veil and pull off her wig, revealing

NATASHA ROMANOFF - the BLACK WIDOW - with bright red hair and a dangerous look in her eye.

 

**INT. DUBAI HOTEL - ROOM 2407 - DAY - A LITTLE LATER**

STREET SOUNDS flow in from outside and mix with the news station on the TELEVISION.

The Business Man enters, looks up from his mobile screen.

Natasha lounges on the bed, ankles crossed, munching on chips and sipping some fancy water from the mini bar.

Shocked, the man fumbles for a 9mm handgun concealed inside his jacket. She's unconcerned with his shaky aim.

BUSINESSMAN  
I already told the Saudis no deal --

NATASHA  
I don't work for the Saudis.

She whips out her own phone and starts texting. Swings her legs over the edge of the bed.

BUSINESSMAN  
Then whoever it is -- 

NATASHA  
I'm here to help you, Mr. Kjevick. If you'll just cooperate this will all go smoothly.

Seams on her high-tech catsuit light up as she adjusts her Widow's Bite wrist cuffs. She slides on a black BACKPACK.

MR. KJEVICK  
(voice breaking)  
Are they going to kill me?

She points to a KEVLAR VEST hanging on a chair.

NATASHA  
Well, that thing's not for me. Our ride ought to be here in five.

Natasha steps to the window. There's a lock mechanism on one side of the frame. She slides out a tiny SCREWDRIVER from her cuff and breaks the lock, pushes the window open.

A breeze blows the sheer curtains across her face -- _wait, what was that?_

She stops, squints. For a split second the curtains change --

FLASH OF MEMORY

\-- Pale fabric fluttering in the air -- but something's different...

The color is warmer. The frame blurry around the edges. The sound of wind, softer. In the background, music...?

BACK TO PRESENT

\-- And just like that, gone. Natasha frowns, shakes her head.

She leans out the window and looks down dozens of stories to the street.

MR. KJEVICK  
Who -- who are you?

She turns back to see him struggling to fit his hand through the armhole of the vest while still holding his gun.

NATASHA  
You don't need to know who I am.

Noise from a distant HELICOPTER makes her eyes narrow.

NATASHA  
(under her breath)  
That was fast.

She looks out the window, adjusting her backpack straps.

A MILITARY HELICOPTER

looms in the sky nearing the hotel.

A KNOCK at the door. Kjevick flinches.

NATASHA  
Ignore it. And put that thing away.

With trembling hands, he tucks the gun in his vest.

She dons a pair of tactical GOGGLES that cover half her face.

Through the goggles, she zooms in on the chopper flying closer. Nat presses her phone to her ear.

Another KNOCK. Louder.

The man looks back and forth from window to door.

NATASHA  
(into the phone)  
Antoine?

The helicopter now hovers several meters out from the window.

BANGING at the door.

NATASHA  
Antoine? What are you doing? That's way too low!

The helicopter rotates. She sees a MERCENARY in the open side point a MACHINE GUN.

Nat drops her phone.

NATASHA  
GET DOWN!

Natasha sprints, dives, knocking the man to the floor.

And from behind -- a masked, blonde ASSASSIN kicks in the door, aims a GRENADE LAUNCHER, and FIRES.

The grenade zooms through the open window --

SMACK into the side of the helicopter -- BOOM!

Natasha races to the ledge: flames, smoke, screaming civilians, the whole nine yards.

Instinctively, Nat dodges the FOOT about to kick her in the face.

She grabs the foot's leg. Rolls over, twisting the assassin with her.

They FIGHT -- limbs flying, glass breaking, the man cowering in the fetal position on the floor.

The assassin's got Nat by the head as they spin around, Natasha's feet dancing up along the wall.

Nat pulls a length of WIRE from her cuffs, flips off the bed.

She wraps the wire around the stranger's neck from behind and pins the blonde against the dresser.

The assassin reaches back, SNAPS off Natasha's goggles. Both women look

IN THE MIRROR.

Natasha freezes. Releases the wire. Steps back.

SHARON CARTER rubs her neck. Turns around.

NATASHA  
Agent Carter?

 

SHARON  
Romanoff. I should have known by the red hair. Do you want to explain what's going on here?

Natasha eyes the stunned man still huddled on the ground.

NATASHA  
Asset transport. Private contract.

 

SHARON

Is that what you've been doing this past year? Independent contracting? Pretty high profile for someone who's wanted by at least three different intelligence agencies.

 

NATASHA  
(with a shrug)  
A girl's gotta eat. You still with the CIA?

 

SHARON  
Interpol. We knew about the Saudis. You, though, that was an unknown. You're lucky we got here in time.

 

NATASHA  
 _Lucky_? I've seen worse. By the way, since when did grenade launchers become standard set up for you guys?

 

SHARON  
They're not. I come prepared.

They share a smile like two old friends.

SHARON  
Want to tell me who hired you?

 

NATASHA  
Doesn't matter. Besides, I don't think they ever had any intention of paying. He's all yours.

Her boot heel presses into the man's back, keeping him from crawling away.

SHARON  
Natasha, you got me in a bad spot here but I can cut you a deal. I'll let you go but you have to send me anything and everything you know about your contractor.

 

NATASHA  
Agreed. Consider it my apology.

Natasha gathers her supplies, adjusts her backpack straps.

SHARON  
(pointing to the door)  
You probably don't want to go out that way.

 

NATASHA  
Wasn't planning on it.

With a running start, she vaults out of the window into --

 

**EXT. DUBAI STREET - DAY**

\-- the open air, diving through a cloud of thick smoke.

Her PARACHUTE opens and carries her gently down the fifty or so stories to the street.

ONLOOKERS gather at the crashed chopper behind her. PEOPLE part to let her land.

She strides down the sidewalk with purpose, dropping the backpack while wrapping her head in a black scarf.

Even in her Widow suit, Natasha blends into the crowd. Everyone is too distracted by the confusion of the crash to notice another tourist.

 

**EXT. SIBERIAN PRISON - DAY**

A rusty 80s Lada sedan sits parked in a gravel lot outside a Soviet-era prison.

Three young women, bored, lingering by the car:

KATYA, pale with long dark hair, chews gum, blows a big fat bubble. Pop music spills out of her earbuds. Next to her,

TANYA, African, scar on her chin, inspects her manicure.

VERA, light brown skin, plays a candy-colored game on her phone in the backseat.

 

**INT. SIBERIAN PRISON - PROCESSING AREA - DAY**

ANYA, Russian, early 30s, blonde hair tied up in a bun, waits in front of a barred window in the guest area of the prison. She taps a foot impatiently but her face betrays no emotion.

Behind the bars, a SURLY GUARD sorts through a plastic box full of pill bottles. He reads the label on each, then passes them through the slot in the bars. He speaks in Russian.

SURLY GUARD  
Don't know why we bothered. She won't last more than a month at this rate.

The pile of pills keeps growing. A twinge of surprise on Anya's face. Anger, shock? Then it disappears.

SURLY GUARD  
Early release, huh? Guess they'd rather not deal with her anymore.

Metal doors CLANG open at the back of the room. An OVERWEIGHT GUARD pushes a wheelchair toward her.

In the chair: MADAME BELOVA, but to Anya, she's "Mother."

Anya's severe facade vanishes at the sight of her: withered, gray, clear tubes running to her nose from an oxygen tank.

Belova's steely eyes strain to look at her. Anya straightens up again, resolved.

 

**EXT. SIBERIAN PRISON - DAY**

Katya taps Tanya with the back of her hand. They both watch Anya pushing Belova's wheelchair toward the car.

Like Anya, they're surprised to see her so frail.

 

**INT/EXT. LADA - SIBERIAN PRISON - DAY - A LITTLE LATER**

Tanya, Katya, and Vera squeeze shoulder to shoulder in the backseat like children on holiday.

Anya starts the engine, turns to Belova next to her. The old woman looks straight ahead, exhausted, but brewing with rage.

BELOVA  
Take me home.

The little car drives out of the parking lot.

 

**EXT. PRAGUE - QUIET NEIGHBORHOOD STREET - NIGHT**

Natasha crosses the tree-lined street to her apartment building. It's one of those old, stately pre-war homes that was later converted into multiple flats.

She stops at the MAILBOXES by the door and unlocks one.

She hears a MEOW and looks down.

A scrawny black CAT encircles her legs, peering up at her.

NATASHA  
Shoo.

She flips through the mail. Grocery flyers, bills, junk mail and a red ENVELOPE.

Nat reads it closely in the dim light. It is addressed to "NATALIA ROMANOVA."

No return address, just "M.P." handwritten in the corner.

Postmarked from --

NATASHA  
(softly)  
Cuba?

MEOW. She glances behind her. No one on the street.

MEOW. Her foot nudges the cat away and she stabs her key into the entry lock.

The cat sneaks in after her as she steps inside, peeling open the letter.

 

**INT. NATASHA'S APARTMENT - NIGHT**

BRRRINNGGG

In the dark, Nat sits at the edge of an armchair. Nervous knees bobbing up and down.

BRRRINNGGG

It's a studio apartment. Streetlight seeping in over the balcony casts shadows on sparse furniture and blank walls.

BRRRINNGGG

She holds the letter in one hand, her phone in the other.

CLICK

MARINA (V.O.)  
Bueno?

 

NATASHA  
Marina?

 

MARINA (V.O.)  
(in Russian)  
Who is this?

 

NATASHA  
I got your letter.

 

MARINA (V.O.)  
Natasha! Yes, it's me, Marina.

Nat sinks back into the chair, relieved.

NATASHA  
Where are you?

 

MARINA (V.O.)  
Havana. I've been here awhile. It's beautiful. How about you? Are you safe?

The little black cat paces at the balcony door.

NATASHA  
For now.

Nat gets up to open the door but the cat doesn't budge.

MARINA (V.O.)  
Are you still working for the Americans or...?

She waves her hand, motioning for the cat to leave.

NATASHA  
Not lately.

 

MARINA (V.O.)  
Natasha, it's been so long. I've missed you.

Finally, the cat goes outside and Nat shuts the door.

NATASHA  
Me, too.

 

**EXT. SKY OVER CUBA - DAY**

An airliner soars above the island.

 

**EXT. HAVANA AIRPORT - DAY**

MARINA (pretty, smiling, Cuban, about Natasha's age) jumps from the back of a taxi waiting near the terminal.

MARINA  
Natushka!

Natasha swings her arms out to hug Marina.

They embrace, tightly, for a long time until the cabbie HONKS his horn. Then they load into the backseat.

 

**INT. MARINA'S APARTMENT - DAY**

Natasha drops her bag when they enter the quaint little one-bedroom apartment.

NATASHA  
Come to think of it, I haven't had a real vacation in years.

 

MARINA  
Well, I aim to remedy that! Let us begin your adventure. Now, the apartment is lousy, and full of roaches, but it does have one thing going for it...

She whips open the curtains before the balcony doorway.

MARINA  
You must admit, Russia has nothing like this.

 

A genuine smile spreads across Natasha's face as she gazes upon hundreds of rooftops stretching out to the sea.

 

**EXT. HAVANA - DAY/NIGHT - MONTAGE**

Shots of Marina and Natasha

\-- riding beach cruisers along the STREETS OF HAVANA

\-- sitting on a PARK BENCH eating street food, while old men play chess nearby

\-- shopping at the outdoor MARKET. Marina wraps a colorful scarf around Natasha's neck.

\-- sipping fruity cocktails, watching a band play at a BAR.

\-- lounging in chairs on Marina's BALCONY at dawn, peaceful. Natasha looks over at Marina dozed off in her seat.

END MONTAGE

 

**EXT. HAVANA - QUIET BEACH - DAY**

Natasha and Marina relax in the shade away from the water.

MARINA  
You know, you're the only one I convinced to visit me.

 

NATASHA  
They are clearly missing out.

 

MARINA  
(with a sigh)  
I don't think they trust me.

 

NATASHA  
You'd think with Madame Belova in prison and the Red Room dismantled, the girls would feel safer by now.

 

MARINA  
Oh, you must not have heard, Belova's been released!

This gets Natasha's attention.

MARINA  
It wasn't publicized, naturally. Anya told me in a letter. It happened a few months ago. She said the old woman's ill. Probably doesn't have long to live.

 

NATASHA  
(rolling her eyes)  
Can't say I feel bad about that.

 

MARINA  
Speaking of Anya, she asked about you, in particular --

 

NATASHA  
\-- You didn't tell her where I -- ?

 

MARINA  
\-- Of course not! I mean, she is one of us, yes, but she's still the Headmistress' daughter after all.

Natasha scoffs, looks away.

MARINA  
Come now, have you ever had pescado asado? My specialty. I'm making it for you tonight!

Marina hops up and holds a hand out for Nat. She takes it.

 

**INT. MARINA'S APARTMENT - LATE AFTERNOON**

Marina cooks in the kitchen while Natasha sits on the sofa, hunched over the coffee table, sipping from a wine glass.

Laid out before her are LETTERS, PHOTOS stored in a SHOEBOX.

MARINA  
It took years but I managed to track down most of the surviving graduates. Sonja -- excuse me, Sister Sophia gave me your address.

 

Natasha lifts a picture of a black WOMAN in a nun's habit surrounded by children.

 

NATASHA  
I, uh, yeah... I'm helping her with a project so we've kept in touch.

 

She sifts through photos: some are shots of women on the street, taken by a covert photographer. Others are selfies. And a WEDDING PHOTO: two women in white, holding flowers.

A SPIDER catches her eye as it scurries out of the shoebox.

Natasha raises the box lid, ready to strike when Marina appears, blocking the lid with her arm.

Instead, Marina guides the spider onto a photo of Anya.

MARINA  
I'm told the Cuban government used to experiment on these spiders in the 50s.

Nat smiles at the thought of this former assassin going out of her way to save a tiny life.

Marina escorts the spider to the balcony and it disappears over the edge. Marina stands, gazing out at the horizon.

MARINA  
I cannot say what you could possibly learn from a spider, other than it is deadly.

Natasha's smile fades.

MARINA  
I came from here, you know? An orphan.

 

NATASHA  
Makes sense. It must have been easy to take kids from other communist countries.

 

MARINA  
Take them. Train them. Brainwash them and return them as spies. They'd blend in perfectly.

 

NATASHA  
Is this what you wanted? To come back home? To feel Cuban?

 

Marina turns around, back to the city, arms gripping the railing, her cheery exterior vanished.

MARINA  
Don't be absurd, Natasha. I am as Russian as you are. No, after the Red Room closed, for the first time I felt that I could go anywhere I wanted. But the destination is irrelevant. It is the choice itself that matters. In the Red Room, it never mattered what I _wanted_. We never even had the _option_ to want. We did so many horrible things because we believed we had no choice! Imagine if we could have chosen for ourselves then as we do now! What kind of life would you have led instead? 

Natasha shrugs and sips her wine.

NATASHA  
I try not to think about that. My life is what it is. And now it's in the past.

 

MARINA  
Well, I am certainly glad to be rid of the Red Room. The day I left I made a vow: every choice I make from now on will be my own, until I choose to make no more.

Nat gets up to stand beside Marina. Gives her a gentle nudge on the shoulder, smiles.

NATASHA  
The Red Room wasn't all bad. At least we found each other.

 

MARINA  
At least that.

Together they watch the sunset.

 

**EXT. MARINA'S APARTMENT - THE NEXT DAY**

Outside the front door, Marina hugs Natasha goodbye.

After, Marina hands Nat the shoebox.

MARINA  
I want you to take this.

 

NATASHA  
What for? All these letters were written to you.

Marina presses the box to Natasha's stomach, forcing her to hold it, but she doesn't let go. Not yet. Her eyes pleading.

MARINA  
Promise me you'll keep in touch?

 

NATASHA  
Of course, but --

 

MARINA  
With all of them? You need each other. No one else understands.

 

NATASHA  
Uh, you've been doing a fine job of that so far. Why me, why now?

 

MARINA  
There were twenty-eight of us once. Now there are only ten. How long

until there are none?

 

NATASHA  
Yeah, well, we've never had the privilege of especially long lives.

Natasha lowers her gaze to the box, unsure. How can she say no to her friend, practically her sister?

NATASHA  
Okay.

 

MARINA  
Thank you.

She holds Natasha's face in her hands and kisses her cheek. When she pulls away Natasha looks worried but Marina smiles

sweetly.

 

**INT/EXT. TAXI - DAY - TRAVELLING**

Nat waves to Marina from her taxi as it drives downhill away from the apartment.

 

**INT. HAVANA AIRPORT - DAY**

Natasha waits at the gate, bag at her feet, the shoebox in the seat next to her.

She nervously checks her phone. Several times. Sends a quick text to Marina.

A FLIGHT ATTENDANT speaks over the loudspeaker.

FLIGHT ATTENDANT  
(in Spanish, then English)  
We regret to announce that flight 1027 to Frankfurt has been delayed.

Nat glances up from her phone then back down. Dials Marina.

It RINGS. No answer. She hangs up.

She places the shoebox in her lap. Her eyes drift to the DEPARTURES SCREEN. "FLIGHT DELAYED."

BACK AT NAT'S SEAT

She's gone.

 

**EXT. HAVANA - MARKET STREET - DAY**

Natasha carries her bag through the crowded market, lumbering back up the hill to Marina's place, shoebox under her arm.

She doesn't notice a BLONDE WOMAN, wearing a hat and sunglasses, turn and watch her as she passes.

 

**EXT. MARINA'S APARTMENT - DAY**

Marina doesn't answer the KNOCK on her door. Nat BANGS louder.

NATASHA  
Marina? It's Natasha. Open up.

She spots an open window near the door. Her forehead scrunches up, wondering. _Was that open before?_

 

**INT. MARINA'S APARTMENT - DAY**

Inside it's quiet. Nat leaves her things by the window.

She takes a step forward. CREAK.

Nat hesitates. Presses her foot into the floor. No sound.

NATASHA  
Marina? You home?

Nat creeps lightly through the apartment to the

BEDROOM

Where Marina lies on her side on the bed. Mouth slightly agape. One wrist HANDCUFFED to the bedpost.

A clear glass medicine bottle and syringe on the nightstand.

NATASHA  
(just a whisper)  
Oh, no, Marina...

Natasha checks for a pulse. None.

She manages to hold it together but she's angry, distraught, guilty even. She should have known...

Then something moves in her friend's mouth. She bends over to get a closer look.

A SPIDER crawls out and over Marina's chin. Nat lurches back.

The spider wriggles over the bed sheet.

Another CREAK. But Nat is standing perfectly still.

The spider lowers by a thread to the floor.

Natasha lifts her right foot and CRUNCH.

She slowly raises her foot behind her, bends her ankle and leans back slightly to glimpse the smooshed spider.

Then she KICKS backward, hitting ANYA in the stomach.

Anya tumbles back into the closet she had been hiding in.

The woman rights herself, brushing back her blonde hair.

NATASHA  
Anya. 

 

ANYA  
Natasha.

Natasha launches at her, not with graceful and efficiently calculated moves, but with rage and brutal power.

The two tear up the tiny apartment as they fight. Nat's not at her best. She's emotionally compromised and Anya knows it.

Anya holds out a gun and Nat kicks. It flies out the window.

The blonde switches to a knife. Nicks Nat's leg.

Natasha uses everything at her disposal -- frying pans, potted plants, flimsy wooden chairs -- to defend herself.

NATASHA  
She was one of us! Why kill her?

 

ANYA  
She did it herself. You know that.

It's true but Natasha doesn't want to believe it.

Anya makes a break for it, grabbing the box of letters and leaping elegantly off the balcony.

 

**EXT. HAVANA STREETS - DAY**

Natasha drops onto a tile roof below, scans the scene. Sees Anya running away.

Nat leaps over rooftops and jumps down into a dirty alley. When she turns a corner she's back in

THE MARKET

People mill around, shopping. Natasha searches frantically.

She spots Anya, standing by a scarf vendor. Anya teases Natasha with a wave then snatches a hanging scarf -- just like the one Natasha bought -- and wraps it around her head.

Then Anya disappears.

Every few moments Nat glimpses the colorful scarf only to lose it again in a sea of people.

Frustrated, she climbs onto the roof of a car to get a better vantage point. The DRIVER sticks his head out to yell at her.

There's the scarf again. Anya's grinning. They lock eyes.

NATASHA  
(to herself)  
You wanna play it this way? Fine.

Anya watches Natasha hop off the car and stroll through a gate into a small private courtyard. Her face turns to steel.

Taking the bait, Anya follows Natasha. But passing the gate, she climbs a nearby fire escape up one story and steps --

 

**EXT. HAVANA COURTYARD - DAY**

\-- onto the roof. Anya leans over the edge. No one's in the courtyard, just potted plants and a patio set.

Then Nat's FOOT swings up and around, kicking the woman's legs out from under her.

Nat had been waiting, pinned up like a spider against a window frame just under the ledge of the roof.

Anya falls, drops the box, and crashes onto a patio table.

Natasha jumps down and scrambles to collect the scattered contents of the box.

ANYA  
That was a clever trick, but you've always been the clever one, haven't you?

Nat doesn't look up from her task. These documents are vital.

NATASHA  
You're too good, Anya, to be doing such a piss-poor job of trying to escape. So I know that's not your game.

 

ANYA  
Oh, but isn't the chase fun, _Black Widow_?

Anya stands up, brushes herself off.

ANYA  
You should have stayed with us, little spider. We are your family.

Nat crushes a letter in her fist, shaking.

NATASHA  
 _She_ was my family! She was the best of us. She was never meant to be a killer, a monster like you or me!

ANYA  
Yes, like you. The one who abandoned us to the wolves! Madame Belova has been freed, at last, no thanks to you. And she wants what you took from her.

Anya reaches a hand into a back pocket.

NATASHA  
What the hell are you talking about?

ANYA  
You ought to know. But in case you've forgotten, here is a clue you won't find in that box, courtesy of your comrades.

She flicks a PHOTO from her fingers and it lands atop the box. Natasha freezes.

It's a picture. Taken from a long zoomed lens from a high angle of a younger Natasha walking and smiling with a man:

BUCKY BARNES, the Winter Soldier.

She looks up, but Anya is long gone, leaving Natasha alone in the alley, surrounded by fallen memories.

 

**EXT. WAKANDAN SCIENCE INSTITUTE - ROOFTOP - DAY**

A sprawling modern complex nestled in a lush mountain range.

A Wakandan jet lands on a rooftop platform.

Natasha exits the aircraft wearing jeans, boots, a tank top,and a leather moto jacket.

Awaiting her at the entrance are T'CHALLA, King of Wakanda, and AYO, a sharply dressed woman with an icy stare.

 

**INT. WAKANDAN SCIENCE INSTITUTE - LOBBY - DAY**

QUICK SHOTS

\-- A HANDGUN drops into a plastic basin followed by a series of KNIVES.

\-- Natasha's hand plucks another pistol from an underarm holster. Tosses it in with the other weapons.

\-- Her hands unhook her WIDOW'S BITE bracelets. Places them down gently, lovingly.

Natasha now stands with her arms outstretched while Ayo pats her down for more weapons. T'Challa waits opposite, hands behind his back.

T'CHALLA  
You may remember Ayo from Berlin. She is a member of the Dora Milaje, my King's Guard.

Natasha smiles at the woman running her palms down her leg. Ayo ignores her.

T'CHALLA  
Standard procedure, Ms. Romanoff, you understand. Your weapons will remain here, secure of course.

NATASHA  
You can be honest, T'Challa. I wouldn't trust me either. Not after... our last meeting.

T'CHALLA  
Water under the bridge.

He smiles warmly. Ayo steps away from Natasha.

NATASHA  
I appreciate you being so accommodating, especially on such short notice. I assure you, it's important.

T'CHALLA  
I believe you, otherwise you wouldn't dare reach out to me, not after _our last meeting_. Besides, you are a beloved friend of Captain Rogers and by extension, Sergeant Barnes. I am only sorry that the Captain could not be here today.

T'Challa leads the women down a hall --

 

**INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY - DAY**

\-- past white-coated SCIENTISTS going about their business.

T'CHALLA  
Before I take you to him, I'd like to show you something special.

They turn a corner.

 

**INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY**

A glass case in the center of the room displays a METAL ARM.

Various DOCTORS mingle in the background.

T'Challa looks to a FEMALE TECHNICIAN wearing safety glasses and a surgical mask. He signals her with a wave of his hand.

The technician nods and presses a button on the wall. The glass surround raises up revealing the arm. Nat's impressed.

NATASHA  
This is new.

T'CHALLA  
A prototype designed by my sister. We haven't had a chance to test it yet, obviously, but we've worked tirelessly to improve the original design. A combination of synthetic nerves woven into the metal fibers themselves feed into a neural processor in the shoulder which connects directly to the brain.

NATASHA  
Vibranium?

T'CHALLA  
Naturally.

NATASHA  
So it's essentially indestructible. You can't break that thing apart?

T'Challa guides a finger along the arm.

T'CHALLA  
Well, the arm is designed in segments. It can be detached and reattached along any of these joints to be repaired or upgraded simply with a soldering iron and some wires. While it matches or exceeds the strength of the previous model, we wished to create an arm that is more than a weapon. In time these innovations might be applied to civilian prosthetics.

Natasha lifts a hand tentatively.

T'CHALLA  
Please.

He takes a step back allowing her to touch the arm.

Her fingertips drag over the ridges of each segment until she reaches the star outline at the shoulder.

For a split second she sees --

FASH OF MEMORY

\-- light glinting as her finger traces the shape of the star.

But now it's a slightly different design. Older, red...

BACK TO PRESENT

\-- and suddenly she's back.

Nat jerks her hand away reflexively and looks up to see Ayo's firm face staring across at her.

Natasha smirks to cover her embarrassment. _What was that?_

T'Challa holds out a palm pointing to another room.

After the trio exit, the female technician removes her glasses and mask. It's Tanya, one of the other Black Widows from an earlier scene.

 

**INT. WAKANDAN SCIENCE INSTITUTE - CRYO CHAMBER - DAY**

T'Challa, Nat and Ayo stand before a whizzing cryogenic chamber as it is unloaded from the wall.

Clouds of gas swirl around the cylinder revealing a sleeping BUCKY BARNES, his left arm missing at the shoulder.

 

**INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY**

Back in the lab, Tanya approaches the arm, holds the wrist and bends it down, creating a slight opening between the connecting segments.

She slips a tiny, blinking red DEVICE inside the crevice.

 

**INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY - DAY**

T'Challa and Ayo step out of a conference room and into the hall. Just before the door closes, a tired Bucky can be seen slumped in a chair at the far end of long table.

The two walk side by side down the hall.

T'CHALLA  
I know what you're thinking, Ayo.

AYO  
My King, is it wise to allow her --

He holds up one hand slightly to stop her.

T'CHALLA  
That woman may have spared me from making a terrible mistake. I believe her intentions are good. And besides, I have you to keep an eye on them.

The King winks and wanders off, leaving Ayo next to the clear glass door to the lab.

 

**INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY**

Tanya stands behind the arm's display case. The barrier lowers around the arm.

Ayo catches Tanya's eyes. The Widow grins.

Then Tanya turns on her heels and races out another door.

Ayo, suspicious, goes after her.

 

**INT. WAKANDAN SCIENCE INSTITUTE - CONFERENCE ROOM - DAY**

Natasha admires a majestic waterfall through the floor-to-ceiling windows in the room.

It's a beautiful view but Bucky keeps his eyes fixed on her.

He rests, hunched at one end of the table with a blanket wrapped over his shoulders, waiting for Nat to make a move.

Finally, she sits across from him. Places both hands on the table, laces her fingers. Takes a deep breath.

NATASHA  
Do you know who am I?

He pauses a moment, one eyebrow raised. Clears his throat.

BUCKY  
(voice creaking)  
Natalia Alianova Romanova. Former KGB. Graduate of the Red Room. They call you The Red Death. The Slavic Shadow. The Russian Avenger. The Black Widow.

She smirks, squeezes her hands tighter.

NATASHA  
And you're James Buchanan Barnes. Captain America's best friend. Former World War II U.S. Army Sergeant unwillingly turned Hydra spy. Assassin. You're the Winter Soldier. You're also the man that gave me this.

She tugs her jacket and tank top strap away from her neck revealing a BULLET SCAR on her left shoulder.

NATASHA  
And this.

She abruptly stands. Her chair falls over behind her. She leans forward and lifts the hem of her shirt. Another nasty WOUND on her stomach.

Bucky doesn't flinch. In fact, he seems relieved.

BUCKY  
Is that it?

She cocks her head, narrows her eyes. Pulls her hem back down. Bucky swallows.

BUCKY  
I trained you. And the other girls. In the Red Room.

He probes her eyes for recognition but finds none. He looks away, speaks quickly. Dismissive.

BUCKY  
It was a long time ago. And not for very long. You were young. You probably don't remember.

Natasha stomps across the room and plants the photograph of the two of them on the table in front of him.

NATASHA  
This look like training to you?

He eyes the picture. Bites his lip.

BUCKY  
Hydra had ties to the KGB. They'd... loan me out on occasion. When you were older we were... assigned to missions together, sometimes, as a team.

He tries to read her face. Nothing. He lets out a sigh.

BUCKY  
God, look, this isn't the way --

Suddenly ALARMS BLARE and LIGHTS FLASH in the room. Storm shutters begin to close over the windows.

Nat pockets the picture. Jogs to the door. Pulls the handle.

BUCKY  
What's going on?

NATASHA  
I don't know. We're locked in.

 

**INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY - DAY**

ALARMS ring louder.

Tanya knocks over equipment and shoves SCIENTISTS aside as she races down a hallway with Ayo in pursuit.

Ayo draws what looks like a vibranium dagger from a thigh holster. She presses a switch on the hilt and it expands into afull-length spear.

She throws the spear at Tanya but the Widow turns a corner a the last second and slams into T'Challa.

The spear misses, striking the wall. Tanya pushes T'Challa away and races down the hall.

Ayo stops to help him up.

T'CHALLA  
What is the meaning of this!?

AYO  
We have an infiltrator. She is one of ours. Or was pretending to be. What are your orders, my King? Shall I capture her or --

T'CHALLA  
No. I'll apprehend her.

T'Challa pulls out a pair of Black Panther clawed gloves from inside his jacket pocket, puts them on. Begins marching up the hall.

Ayo retrieves her spear and follows him. With the push ofa button, the spear retracts to its former size. She pockets it.

AYO  
What if this is a distraction? How do we know the Russian is not involved?

T'CHALLA  
We don't. But either way I won't allow a spy loose in this facility. Protect Barnes. Whatever happens, do not leave his side until you deem it safe. If necessary, I give you orders to evacuate, but report back to me as soon as you can. Go!

He darts away. Ayo reluctantly heads in the other direction.

 

**INT. WAKANDAN SCIENCE INSTITUTE - CONFERENCE ROOM - DAY**

Natasha kicks at the doorknob with all the strength she can muster. It's no use.

NATASHA  
Damnit, do they make the locks out of vibranium, too!?

Bucky stands behind her, a bit baffled at her fury. He tugs protectively at the blanket.

BUCKY  
Don't you usually carry some kind of tricks for times like these?

Her head whips back, sneering.

NATASHA  
You're not exactly helping.

BUCKY  
Well, if I had my _arm_...

He lets the blanket slip off his shoulder, making his point.

BZZZT. The lock clicks and Ayo swings open the door.

AYO  
We have a spy. What do you know of this?

NATASHA  
Shit. Is she tall? Blonde?

AYO  
No, African. Wakandan perhaps. I cannot be certain. But she is quick. And well trained.

NATASHA  
Scar on her chin?

AYO  
Yes.

NATASHA  
Tatiana. We have to get out of here. Now.

AYO  
Are you certain?

NATASHA  
Yes!!

Natasha is surprised by the volume of her own voice. Understanding, Ayo nods then guides them into the hall.

 

**INT. WAKANDAN SCIENCE INSTITUTE - CAFETERIA - DAY**

Tanya slows when she enters the busy cafeteria. In here, the alarms haven't gone off yet.

EMPLOYEES enjoy their lunch unaware of the danger.

She smiles, this is going to be fun. So many toys: plates, glasses, knives and forks.

No one even notices when she casually, naturally, twists the neck of the guard near the doors.

A WOMAN screams as Tanya leaps on a table. She kicks dishes, scaring everyone seated around her.

There she stands, facing the entry as T'Challa arrives.

Everyone goes silent. He stares her down. The woman grins.

She STOMPS on the lip of a plate. Catches it when it flips up in the air. Breaks it over her knee and FLINGS the pieces in quick succession at his face.

He blocks each piece with his clawed hand.

The EMPLOYEES bolt from their seats to the exit.

Tanya backflips off the table as T'Challa dives forward.

They battle each other, making a mess as arms, legs, and food go flying.

His CLAWS slice at her face but she blocks his every move. He may be powerful but she's quick.

His advances push her through swinging doors into --

 

**INT. WAKANDAN SCIENCE INSTITUTE - KITCHEN - DAY**

\-- the industrial kitchen.

T'Challa doesn't let up, kicking her into a corner.

Tanya springs over a prep table and snatches a KNIFE from a magnetic strip on the wall.

She stabs -- but instead of blocking, T'Challa's gloved hand seizes the knife by the blade and SNAPS it in half.

Astonished, Tanya freezes for half a second. And T'Challa backhands her in the face.

She stumbles and braces herself against a tall metal SHELF loaded with pots and pans.

T'Challa steps forward but Tanya kicks the leg out from under the corner of the shelf.

It tips, CRASHING down on T'Challa's head.

Tanya flees through a maintenance door.

 

**INT. WAKANDAN SCIENCE INSTITUTE - ROOFTOP - DAY**

Ayo, Nat and Bucky barge through the stairwell door onto the rooftop landing pad.

Ayo leads them to the parked jet. She hops in the cockpit but Bucky waits outside. He looks down at his arm stump then to Natasha. She sighs.

NATASHA  
Ayo, if I'm not back in 10 minutes I need you to fly out of here as fast as you can!

AYO  
And go where?

NATASHA  
West. To the border. Out of Wakanda. Do you understand?

AYO  
I'd call you a crazy American but I know you are not American. Hurry.

Natasha heads back inside.

 

**INT. WAKANDAN SCIENCE INSTITUTE - HALLWAY - DAY**

Natasha runs back up the hall. Sees T'Challa coming the other way. He rubs his head with one hand.

She slows, distracted by his food-stained suit.

T'CHALLA  
She eluded me.

NATASHA  
I swear to you, I didn't know.

T'CHALLA  
Then what are you still doing here?

She speeds up as she passes him.

NATASHA  
(shouting back)  
He wants his arm!

 

**INT. WAKANDAN SCIENCE INSTITUTE - LABORATORY - DAY**

Inside the lab, Nat unhooks a fire extinguisher from the wall and hurls it at the glass case.

Grabbing the arm, she turns to the door. Tanya blocks the exit. She's wearing the Widow's Bite cuffs. _Natasha's_  cuffs.

Tanya aims the cuffs and fires BOLTS of electricity.

The redhead lunges sideways, hops up, and swings Bucky's arm like a baseball bat. Tanya ducks and aims again.

Nat rushes in and the women COLLIDE.

Natasha struggles to keep the Widow's Bite angled away from her face as they fight through the room.

Finally Nat has her on the ground with the metal arm pinned against Tanya's neck.

TANYA  
(choked)  
The code.

NATASHA  
What?

She eases her weight off the metal arm. Tanya coughs.

TANYA  
Belova wants the code.

NATASHA  
What code?

Tanya leans up on her elbows.

TANYA  
Ask him.

Natasha's face turns to fury. She HEADBUTTS Tanya.

 

**INT/EXT. JET - ROOFTOP - DAY**

Impatient, Ayo readies the engines and the jet begins to hover.

BUCKY  
Wait!

Natasha bursts from the stairwell and sprints to the jet as it raises off the concrete.

Tanya chases after her, blood dripping from her broken nose.

Bucky kicks open a side door.

Tanya aims the cuffs once more. SPARKS just miss Natasha as she hurls herself into the open door, landing on Bucky.

The engines ROAR as the aircraft rises. The door swings shut.

Natasha rights herself. Shoves the arm at Bucky's chest.

NATASHA  
(short of breath)  
Really wish I had my gun right about now.

AYO  
(self-satisfied)  
Dora Milaje do not use such primitive weapons.

Natasha just sighs and collapses in her seat. Bucky looks dumbfounded, holding his severed arm like a broken toy.

 

**INT. WAKANDAN AIRSPACE - DAY**

The aircraft zooms through the sky over mountains.

Bucky rests in the back. Natasha leans over Ayo's seat.

AYO  
The barrier is close. I assume you have a destination in mind. Europe? America?

NATASHA  
No, we need someplace where we can lay low.

AYO  
Do you expect to be pursued?

NATASHA  
Not if your King is as good as you say he is. I have a friend just across the border. You can leave us there.

AYO  
My King ordered me to protect you.

NATASHA  
You mean him?

She nods her head at Bucky. Ayo looks back. Bucky just shrugs.

 

**INT. WAKANDAN AIRSPACE - DAY**

The jet soars through the holographic barrier surrounding Wakanda and on toward the setting sun.

 

**EXT. SACRED BLESSING SCHOOL - DAY**

The jet has landed at the edge of flat farm fields and the trio now approach a boarding school complex. Several long, single story, wooden roofed, concrete block buildings. In the center stands a two-story painted timber church with a steeple and bell at the front.

CHILDREN pile out from the buildings in a huge commotion. The kids gather round, mostly interested in Bucky.

Then a hush spreads over the crowd. Children part to allow a woman to pass through.

Natasha smiles warmly when she sees SISTER SOPHIA, a black African woman a few years older than Natasha, fully dressed in a nun's habit.

SISTER SOPHIA  
Natushka, it has been too long.

Natasha leans in for a deep hug.

NATASHA  
I'm sorry for barging in but we need a place to stay for awhile.

SISTER SOPHIA  
Of course. Anything for you and your friends.

NATASHA  
This is Sonja - I mean, Sister Sophia. This is --

Natasha points to Bucky.

SISTER SOPHIA  
I know you, Soldat.

BUCKY  
It's Bucky, these days, Sister.

NATASHA  
And this is Ayo, of the Wakandan Dora Milaje.

SISTER SOPHIA  
Ah, it is an honor!

AYO  
You were once a Black Widow, like Ms. Romanoff, I assume?

SISTER SOPHIA  
Yes, once, and now I am a nun!

The Sister seems rather amused by her ironic change in profession. Ayo's face softens.

NATASHA  
Madame Belova was released from prison. She's gathered any loyal Widows she can and for some reason they're after me. And him, too.

Sister Sophia takes Natasha by the arm and guides the group toward the church. Giggly children follow at a distance.

SISTER SOPHIA  
I knew this wasn't a social visit. If not for some emergency I doubt you'd ever come to see how much you helped to build. You're safe, for the moment. Let us show you around.

NATASHA  
Actually, I think he might need some work.

Bucky carries his extra arm.

SISTER SOPHIA  
Well, then we shall begin our tour at the metal shop.

 

**EXT. SACRED BLESSING SCHOOL - METAL SHOP - DAY**

Bucky sits on a tree stump while Ayo uses various tools to attach Bucky's arm.

Natasha watches, arms folded, tired. The children circle around, some hide shyly behind trees.

AYO  
The Sister made it sound like you had something to do with all this?

Ayo glances at the buildings: classrooms, dorms, warehouses.

NATASHA  
After I defected I got in touch with Sonja, who had also managed to get out. She wanted to start a school for orphans of the civil wars. I... invested.

She notices Bucky staring up at her so she looks away.

NATASHA  
I've got red in my ledger. Trying to wipe it out...

 

**EXT. SACRED BLESSING SCHOOL - METAL SHOP - DAY - LATER**

Bucky performs for the children by crushing scrap metal pieces with his newly installed hand. The children squeal with delight.

Natasha and Sister Sophia look on from a distance.

SISTER SOPHIA  
You couldn't have stopped her. Marina had already made up her mind. By writing letters to the other girls, by visiting with you, she was saying her goodbyes. Can you not see it?

NATASHA  
I do now, but why? That's what I still don't get.

SISTER SOPHIA  
It was her decision. In taking her own life she claimed it for herself. It was her final act of rebellion against the Red Room. I do not condone it, but I do understand it. Our choices are our own. May she find peace.

Bucky is now arm wrestling a TEENAGE BOY. Bucky pretends to lose. The boy beams. Children cheer.

 

**EXT. SACRED BLESSING SCHOOL - CHURCH - NIGHT**

Natasha sits alone on the church steps, looking over the photo of her and Bucky.

She hears shuffling footsteps in the dirt.

BUCKY  
Been lookin' for you.

NATASHA  
Couldn't sleep. How's the arm?

He lifts the vibranium arm and rotates it.

BUCKY  
It's different but I like it. More responsive, I think... Hey, we didn't get much of a chance to talk earlier --

NATASHA  
Another Widow, Anya, gave me this photo knowing I would want answers. Knowing I would come here to find you, wake you up.

BUCKY  
They wanted you to lead them to me.

He sits beside her.

NATASHA  
No, Tanya, she didn't follow me. She infiltrated the research institute weeks ago, maybe months. If the Red Room already knew your location, already had someone on the inside, why get me involved?

Bucky bites his lip, flexes his metal fingers.

BUCKY  
'Cause it ain't me they're after.

NATASHA  
In the lab, Tanya mentioned something about a code. Do you know anything about that?

BUCKY  
Not ringing any bells.

Natasha taps the picture.

NATASHA  
Why don't I remember this?

She tries her best to keep her face clear of emotion, always hiding. Bucky takes a deep breath.

BUCKY  
You know the technology that Hydra used to wipe my mind clean, made me forget everything in between missions, to control me? The Red Room... they used it, too.

Nat's eyes go wide. She gasps, bolts up, crosses her arms.

NATASHA  
Why!? What reason would they have to do that?

BUCKY  
You tried to defect. Not to SHIELD. Before that. But you got caught.

NATASHA  
When? How could you know that!?

Bucky runs a hand through his hair, shifts his weight.

BUCKY  
...Because I'm the one who brought you in.

Then, in the distance, a SCREAM. And a small EXPLOSION.

Bucky leaps up. Behind them, near the far buildings - fire.

They both race off in the direction of the dorms as TEACHERS and CHILDREN pour out into the courtyards.

 

**EXT. SACRED BLESSING SCHOOL - DORMITORY - ROOF - NIGHT**

Flames from adjacent buildings light up the background.

GASOLINE drips over the wooden shingles. Tanya walks along the center beam, balancing gracefully as she dumps the last of the liquid from the container.

She tosses the container, pulls a matchbook from her back pocket, flicks a match and tosses it behind her.

She leaps from the roof as the fire rises above.

The children inside the building SCREAM.

 

**EXT. SACRED BLESSING SCHOOL - DORMITORY COURTYARD - NIGHT**

Bucky and Nat halt at the courtyard. Each long dormitory is ablaze. Ayo appears beside them.

AYO  
She tracked us.

Nat whips her head back with a look that says "obviously."

Sister Sophia rushes onto the scene, dressed in her sleeping gown, hair wrapped up. One hand covers her mouth in shock.

Bucky dashes toward one of the dorms.

 

**EXT. SACRED BLESSING SCHOOL - DORMITORY - NIGHT**

Bucky ushers a group TERRIFIED CHILDREN out of the smoke-filled building.

Once they're all safe he makes eye contact with a teenage boy.

BUCKY

You -- check the north side!

The boy runs off.

Bucky turns back to the dorm, shields his mouth with his arm.

 

**INT. SACRED BLESSING SCHOOL - DORMITORY - NIGHT**

Bucky kicks in a door to a bedroom. Inside, two GIRLS huddle in a corner, too scared to move.

He lifts up the smallest one and pulls the other by the hand.

CRUNCH -- the roof above the exit collapses. Bucky turns around and they run headlong through thick smoke.

They reach the far wall but there's no door. Only a tiny window. Bucky puts down the girl, winds up his metal arm and PUNCHES clear through the concrete.

 

**EXT. SACRED BLESSING SCHOOL - DORMITORY - NIGHT**

The roof above creaks and shudders as Bucky PUNCHES through the growing hole in the wall -- again and again.

Smoke pours from the opening, then the little girl shimmies out, followed by the second child.

Bucky punches one last time, then squeezes through.

He crawls free just as the roof collapses entirely, sending up a billowing cloud of smoke, sparks, and ash.

Natasha rushes up and puts an arm around his waist as he climbs to his feet.

NATASHA  
Are you hurt?

She catches him off guard. He's startled by her concern, her closeness, her touch. The flames reflect off her pupils.

Then he spits out a heavy cough that shakes him from his reverie. Back to business.

BUCKY  
Have you found her yet?

DING DONG. DING DONG. Their heads turn toward the church bell.

 

**EXT. SACRED BLESSING SCHOOL - CHURCH - NIGHT**

Natasha climbs a ladder through an open hatch onto the bell tower.

Four posts hold up the steeple roof over an iron bell. In front of it, Tanya overlooks her destruction.

NATASHA  
You didn't have to do this.

TANYA  
You didn't have to run.

Tanya crosses her arms over her chest, CUFFS glinting in firelight.

TANYA  
Seven years. Headmistress Belova was locked away for seven years. They locked up the Red Room, too. Pretended like it was never even there. Buried in snow. Do you know what I did for those seven years?

Natasha steps next to her. The flames below brighten their faces.

TANYA  
Nothing. Not a damn thing. I offered my services to the government but they didn't want to acknowledge that the Room ever existed. It was an international embarrassment for Russia. But they wouldn't let me leave, either. No, they couldn't risk me working for the West. So they made me a prisoner, too, in a way. Imprisoned in my new "normal" life.

Tanya leans against the post. Her hands form into fists.

TANYA  
All I am, all I ever was, was made to serve the Motherland. We are spies, not school teachers! Nor factory workers. Do you know what it feels like to be useless, unwanted, disposable?

NATASHA  
Maybe I do.

TANYA  
No, you don't. Because you're not one of us. Not anymore, you traitorous liar! You don't deserve the title of Black Widow.

An exasperated sigh escapes Nat's mouth.

NATASHA  
Whatever it is Belova wants, I can't give it to her. She wiped my memory.

Her voice trembles at that last sentence. It's the first time she's admitted to herself. Tanya smirks.

TANYA  
I know, that's why I'm here. To make you remember.

Nat points to the courtyard.

NATASHA  
By destroying this school!?

TANYA  
By showing you what's at stake!

Natasha shakes her head in disbelief. Her anger rises.

NATASHA  
This is sick... You wanna know what I remember? I remember being handcuffed to my bed every night. With the windows open. In winter!

She lunges forward, pushing Tanya's back to the ledge of the tower. She digs a finger into the center of Tanya's chest.

NATASHA  
I remember training to fight dawn til dusk with no food or water. I remember having every bone in my body broken so I learned not to feel pain!

Tanya flinches when her foot slips off the floor onto empty air. She struggles to keep her balance.

NATASHA  
I remember being dropped in the tundra with no supplies and told to survive. You can burn the entire world to the ground but I am never going back there!

Natasha whips around, steps to the side of the tower, desperate to catch her breath. She squeezes her eyes shut to quell her rage.

Tanya, too, gulps for air, steps in from the edge and regains her composure.

She inches closer behind Nat and leans over her shoulder --

TANYA  
You may do as you like. But I will serve the Red Room until it no longer needs me.

SPARK -- electricity from the cuff bites her in the back.

Natasha's knees buckle. She tilts forward, collapses, rolls down the sloped roof.

She lands in the dirt below, wind knocked out of her. Her eyelids flutter closed.

 

**EXT. SACRED BLESSING SCHOOL - CHURCH - NIGHT - LATER**

Tanya backs out of the double doors of the church and down the steps, sloshing more gasoline in her wake.

CH-CHK. Tanya stops, drops the container, turns, smiles.

Sister Sophia stands waiting, a shotgun in her arms.

SISTER SOPHIA  
You have destroyed everything I have worked for years to build. These children are safe, I thank God for that, but many of them have no home and no where else to go. What is to become of them? I do not know. But I know this.

She lays the gun down at her feet and steps over it. She makes the sign of the cross.

SISTER SOPHIA  
The Lord forgives, and so must I. Please, Tanya. End this senseless slaughter. Allow us peace and so you, too, shall know peace.

AROUND THE CORNER

Natasha crawls toward the front of the church. She braces herself against the corner of the building as she stands.

BACK AT THE DOORS

Tanya watches Natasha struggle then smiles at Sister Sophia.

TANYA  
Always such a bleeding heart.

Tanya slowly aims the Widow's Bite.

NATASHA  
Tanya, stop!

Tanya glares at Nat while pressing the cuff against Sister Sophia's forehead, forcing her to kneel.

TANYA  
All of this can be over if you give me the code.

NATASHA  
You know I don't remember!

TANYA  
You have 30 seconds.

NATASHA  
This is insane! Sonja, please!

The nun's eyes grow cold, resolved. She's as well trained and experienced as Tanya. She could disarm her attacker in a split second but instead, she speaks --

SISTER SOPHIA  
This isn't who you were are, Tatiana. You were meant for better things. You belong with us. There is a place for you here.

TANYA  
I have no place in the world and neither do you.

SISTER SOPHIA  
That is a lie. A lie they told us. To hide what they didn't want you to know. That you were taken.  
(pointing back toward the courtyard)  
That you are one of them, victims of the same war. Like I am!

TANYA  
I am nothing like you.

SISTER SOPHIA  
Perhaps you are right. You would murder innocent children for a woman who would as easily see you rot in the ground. But you were innocent once, like them. Only you were taken from your home to serve an evil. This was a crime. You deserved more than war and despair. You are a daughter born of this very land. And now you are home!

Her words break through some invisible wall. Tanya squints, the space between her eyes tightens. Her hand slips lower just an inch.

Natasha takes a deep breath. Almost out of the woods.

Tanya cocks her head, opens her mouth slightly, about to ask the question --

WOOSH. Natasha flinches.

In slow motion, Tanya falls to the ground -- a vibranium spear jutting from her adboment. And beyond her, about 10 yards away stands Ayo.

The entire scene is blurred by Natasha's grief. Everything slowed. Hazy snippets of faces, hands, and feet:

\-- The nun's eyes widen. Her arms reach for Tanya.

\-- Natasha dives to her friend's side.

\-- Bucky approaches from the courtyard.

\-- Heartbreak covers Sister Sophia's face as she holds Tanya in her arms.

\-- Natasha gets up, rushes Ayo, yelling. Ayo backs away, hands in front of her, ready to defend.

AYO  
She was going to shoot her!

NATASHA  
She was talking her down!

BUCKY  
Hey, hey, hey!

Bucky pulls Nat away by her shoulder, spins her around. She lands in his arms. All she can do is cry.

 

**EXT. SACRED BLESSING SCHOOL - EDGE OF THE JUNGLE - DAY**

The next morning Ayo, Natasha, and Bucky bury Tanya's body.

Ayo and Nat watch Bucky shovel the last layers of fresh dirt while Sister Sophia reads from the Bible.

AYO  
It is a matter of national pride that Wakanda has never been invaded... Until now.

Finished, Bucky steps back to stand next to Ayo.

BUCKY  
I wouldn't call one woman an invasion.

AYO  
How could she have gone unnoticed?

Sister Sophia closes the book, holds it to her chest.

SISTER SOPHIA  
It is the unteachable skill. To belong anywhere you must first belong nowhere.

Nat uses a mallet to pound a wooden cross at the head of the grave.

SISTER SOPHIA  
She was not the first invader. In the '80s the Soviets provoked war amongst Wakanda's neighbors in hopes the violence would bleed into Wakanda itself. They, like others, wanted to control your vibranium. They failed at that goal, but they did not leave empty-handed.

Natasha puts a hand on the Sister's shoulder.

NATASHA  
She's home now, Sonja. And so are you.

Nat turns from the grave and wanders back toward the smoldering school.

Bucky jogs to catch up with her. She avoids his eyes.

NATASHA  
It's my fault. I never should have come here. I never should have turned my back on her. Rookie mistakes. I let my emotions...

BUCKY  
Hey, don't beat yourself up. Only thing we can do now is focus on our next move.

NATASHA  
 _Our_  next move? No, you go back to your buddy, Steve. I've got work to do.

She picks up her pace.

BUCKY  
Natasha, if I'm responsible for any of this, I can't just walk away. For whatever reason, The Red Room wants this code. You have to find it before they do. Let me help. You don't need to do this alone.

She stops, faces him, then pivots away again, hesitating, not sure what to ask.

NATASHA  
How long? ...How long will it take to remember?

BUCKY  
Uh, depends. It comes in bits and pieces. Could be years. Or it could come faster if you find some way to trigger your memory. Do you... do you want to know -- ?

NATASHA  
No. They're my memories. I want to remember them on my own.

BUCKY  
Are you sure -- ?

NATASHA  
Absolutely.

She spins around, shakes a finger at him.

NATASHA  
The Room wiped my mind to keep me from defecting, right? That had to have been, what, over a decade ago? At that time I only knew of one other Widow who managed to escape successfully. I would have gone to her for help.

BUCKY  
Do you know where she is?

NATASHA  
No, I but I bet Marina did.

 

**EXT. EMPTY ARIZONA ROAD - DAY**

Bucky lumbers alongside the asphalt, head down, wearing a long-sleeved hoodie and gloves despite the heat.

A nondescript rental rolls up beside him. Natasha, clad in her classic jacket and fitted tank, leans out the window.

NATASHA  
I was worried you wouldn't make it.

BUCKY  
I was worried you lied to get me out of the way.

Natasha grins.

 

**INT/EXT. CAR - ARIZONA ROAD - TRAVELLING - DAY**

Nat drives while Bucky relaxes in the passenger seat, thankful to be out of the sun.

BUCKY  
It wasn't easy getting over the border but I called in some favors. Maybe made a few threats.

NATASHA  
Well, getting out should be easier.

She hands him a forged U.K. passport with his photo on it.

NATASHA  
You should take a look at this.

She passes him an envelope. He pulls out a handwritten letter and a PHOTO.

BUCKY  
"If you ever need to find me, ask for Krysta at 'House of Pancakes' downtown." Don't you think it's odd that she'd use her real name, not an alias, to be safe?

He takes a close look at the picture of a young woman that must have been taken during her Red Room days.

NATASHA  
Who knows? Maybe she trusted Marina.

 

**EXT. ARIZONA ROAD - DAY - LATER**

Nat's car passes a lonely gas station on the way into town.

A shiny new black AUDI S4 sits at the pump with the driver's window down. Inside Katya slips on a pair of sunglasses and shifts the car into gear.

 

**EXT. HOUSE OF PANCAKES - DAY**

The rental parks in the lot outside the diner. Natasha waits in the car.

 

**INT. HOUSE OF PANCAKES - DAY**

Bucky takes a seat at a table by the front window. Most other tables are empty. Country music plays over a single speaker.

A WAITER approaches and slides a menu in front of Bucky.

WAITER  
Morning. Can I get you started with some coffee?

BUCKY  
Actually, I was wondering, do you know if Krysta is working today?

The waiter looks Bucky up and down. Then glances through the window at the car.

After a moment, with his eyes still on the window:

WAITER  
Uh, yeah. She's in the back. I can get her for you.

He then spots Bucky's gloved hand, hesitates.

WAITER  
Know what? It's pretty slow. Wanna come with me? I'll take you to her.

The waiter smiles politely. Bucky notices the man's shift but returns his smile like nothing's amiss.

 

**EXT. HOUSE OF PANCAKES - DAY**

From inside the car, Nat sees Bucky and the waiter walk further inside the building.

 

**INT. HOUSE OF PANCAKES - HALLWAY - DAY**

The waiter opens an exterior door and steps through, out of Bucky's line of sight.

Bucky looks concerned but he has no choice but to follow.

 

**EXT. HOUSE OF PANCAKES - ALLEY - DAY**

Bucky swings his metal arm up to block just in time as the waiter ATTACKS -- kicking and punching, scrappy and brutal.

Bucky's on the defensive, quite taken off guard. This isn't just some waiter, he's obviously a well-trained combatant.

WAITER  
They didn't learn after the first time, did they!? Thought they'd try again, huh?

BUCKY  
What the -- ?

The waiter hops up on the dumpster lid, bounces off the exterior wall and leaps onto Bucky's back.

He wraps his arms around Bucky's neck in a chokehold. Bucky spins, off balance.

He falls back, SLAMMING the waiter into the piles of trash bags collected around the dumpster.

Bucky gets up, rubs his neck. He didn't come here to start a fight but now he's pissed. His anger gets the better of him.

The Winter Soldier comes out as he unleashes a powerful PUNCH -- but the waiter is quick, evasive.

He rolls off the trash pile as Bucky STRIKES. Garbage breaks free from the plastic and flies into the air.

The waiter goes low, tries to kick Bucky's legs out from under him.

Then Bucky RAMS forward, full force, pinning the waiter against the wall with his metal arm, squeezing the air out of the other man's lungs.

The Soldier growls at him but the waiter doesn't flinch.

NATASHA (O.S.)  
Hey!

Both men turn their heads. Bucky immediately steps back, ashamed. Nat looks to each of them, utterly confused.

WAITER  
Natasha?

He grabs her and draws her in for a tight hug. When he pulls away, she searches his eyes.

NATASHA  
...Krysta?

CHRIS  
Actually, it's Chris now.

BUCKY  
Shit.

NATASHA  
Oh, I'm sorry. I didn't realize --

He takes a step back, puts a hand on his hip, runs his other hand through his messy hair, grins.

CHRIS  
Wouldn't have expected you to.

NATASHA  
How long? I mean, when...?

CHRIS  
It's been a process. As soon as I left, I guess.

BUCKY  
Explains why he managed to evade the Red Room for so long.

Chris whips around, anger taking over again.

CHRIS  
No, I've stayed alive all this time 'cause I'm smart! I remember you, tin man. What the hell were you thinking? You got a death wish, trying to scare a guy? You think I haven't prepped for this?

Natasha puts a hand on his shoulder to calm him.

NATASHA  
It's good to see you, Chris.

CHRIS  
You, too. How'd you find me? It was Marina, wasn't it? Ugh, I knew writing to her was a bad idea.

NATASHA  
Marina's dead.

CHRIS  
Shit. Should've known.

He paces in a circle. Rubbing his forehead.

CHRIS  
Damn, Nat. It's been years. What happened to you? You never showed in Cairo. I thought you were dead!

NATASHA  
Cairo? You've lost me...?

CHRIS  
Yeah, Cairo. I was going to deliver you to the UK embassy. I stuck my damn neck out to help you!

NATASHA  
Yeah, I uh, I got caught.

CHRIS  
(taken aback)  
For real? Pft, that's even worse.

Bucky leans against the wall, listening.

NATASHA  
When we were in contact, did I ever mentioned anything about a code?

CHRIS  
Code? No, but you did give me an envelope. If you didn't show I was supposed to post it to British Secret Intelligence. So I did.

NATASHA  
You didn't happen to look inside the envelope, did you?

He avoids her eyes. Goes back to pacing.

CHRIS  
Well, yes, but it was just a bunch of random numbers. Maybe that was the code, but to what? A safe? Computer? A message?

Nat shrugs.

CHRIS  
Shit, were you followed? Was he?

He's on edge but Natasha keeps her cool.

NATASHA  
No, we came alone. Separate.

CHRIS  
Can you trust him? Those bastards did so many messed up things to his head, how do you know he's not --

BUCKY  
Hey!

Chris steps up in his face. Bucky pushes out his metal hand, defensively.

CHRIS  
You know, the last time they sent you after me I had to move to a new continent, change my name. Hell, I even changed my face! But that's not the worst part. I built a life for myself and now that's all gone! Do you know how hard it is for a guy like me to make friends? To find a damn doctor!? And now, thanks to you two, I'm gonna have to do it all over again!

BUCKY  
I didn't mean to --

CHRIS  
Save it. I hope they beat you real good for not catching me, you son --

Natasha shoves Chris away from Bucky who's fired up now.

NATASHA  
Enough! You want the Red Room to stop chasing you? Then quit running and help us end them! You're right. The others, the ones still loyal to the Madame Belova, they're after me and I have to figure out why. Unfortunately, I don't have the luxury of memory on my side and I need all the help I can get, including his. We shouldn't have to live in fear anymore, none of us!

Chris only stares at her for a moment.

CHRIS  
(more composed)  
You haven't noticed that sedan, have you? It's circled the block three times since we've been out here.

Her eyes drift to the street and she spots the tail of the S4 as it passes behind another building.

CHRIS  
Come with me, quick.

He leads them deeper into the alley. Climbs atop a dumpster to jump the chain link fence behind.

 

**INT/EXT. AUDI - DAY**

The car pulls around one more time, slows to a stop. Katya peers down the alleyway.

They're gone.

Katya's eyes lower to a phone in her hand. On the SCREEN, a map, with a moving red dot.

 

**EXT. SIDE STREET - CHRIS' HOUSE - DAY**

Chris jogs down the street. Nat and Bucky try to keep up.

A few turned corners later, they arrive at an old stucco bungalow crowded with trash, junk, and dead potted plants all over the porch.

Chris pulls keys from a back pocket. Nat and Bucky keep an eye out for the Audi.

 

**INT. CHRIS' HOUSE - DAY**

Chris shuts the door behind them.

Rather than locking the excessive number of deadbolts and reinforcements, he pulls wires and a black DEVICE from a dresser beside the front door.

He peels a plastic cover off the box with his teeth and sticks it on the top of the door where it meets the trim.

Bucky treads carefully through the room. It's trashed. Used plates, empty bottles, dirty clothes. Thrift store furniture and stale air.

Nat instinctively pulls curtains closed.

Chris travels backward through the house, unrolling wires. He bumps into Bucky who spins around. His eyes track the wire trail to the device on the door.

His view is interrupted by Chris' hand pointing to the hall. He snaps his fingers.

CHRIS  
Bedroom closet. There's a bag.

Bucky narrows his eyes, annoyed. Chris snaps again. This time, Bucky obeys.

Natasha's finger slides one of the curtains aside. A sliver of daylight brightens her eye.

Chris reaches the kitchen and hooks the wires to another device which he drops inside the vintage oven.

CHRIS  
Who do you think it is? Vera? Katerina? Tatiana?

Nat drops the curtain, leaving her face in darkness.

NATASHA  
It's not Tanya.

Chris considers this. Bites his tongue. Returns to the task at hand. He flips knobs on the stove, filling the air with wheezing gas.

IN THE BEDROOM

Natasha finds Bucky seated at the edge of the bed, a huge black duffle bag open in his lap.

NATASHA  
Chris said the Room sent you after him once. Do you remember... him?

BUCKY  
I do now.

He lifts a stack of cash out of the bag with one hand and a very illegal automatic weapon with the other.

Bucky can't help but chuckle. Nat tries to stifle a smile.

CHRIS (O.S.)  
Alright, ladies. Time to get this show on the road!

IN THE KITCHEN

Chris releases the nozzle on the last of the propane tanks stored inside every lower cabinet in the kitchen. He leaves the cabinet doors open.

Natasha covers her nose when she walks in.

Bucky, holding the duffle, almost opens the back door but stops, noticing another detonator stuck to the door frame.

Chris climbs out a back window.

 

**EXT. CHRIS' HOUSE - FRONT - DAY**

Katya examines a TRACKING APP on her phone as she approaches the house on foot. She left her car further down the block.

She climbs the porch steps and searches the area. Windows covered. Door looks weathered but solid. She kicks over a terracotta pot. No key.

 

**INT/EXT. CHRIS' HOUSE - BACK - DAY**

Bucky's boots crunch onto the gravel below the window. He turns back to help Nat down. She doesn't budge.

CHRIS  
Don't give me that face, Natasha. We gotta go!

She glares back at him, indignant, biting her cheek.

CHRIS  
Look, it's not enough to kill her. I mean, don't get me wrong, it'll hurt pretty bad -- right buddy?

BUCKY  
Bucky.

CHRIS  
Whatever, it's just giving us a head start. Come on, sweetie, you're letting out all the gas!

Chris waves for her to come. Nat looks to Bucky. He's squirmy, nervous, but doesn't disagree with Chris.

 

**EXT. CHRIS' HOUSE - FRONT**

Katya peers through a crack in the curtains, cupping her eyes with one hand, holding her phone to her ear with the other. She speaks in Russian.

KATYA  
I've got them contained. What's your directive?

BELOVA (V.O.)  
Are they stationary?

KATYA  
Yes.

 

**EXT. CHRIS' HOUSE - BACK ALLEY - DAY**

Chris lugs the bag and leads them to an old 1970s PORSCHE 911 coupe parked along the back street.

BELOVA (V.O.)  
Remember, I want her alive. The other two are expendable.

Chris tosses the key to Nat and hops in the passenger's seat.

Nat and Buck share a questioning look. Then he shrugs and climbs in the tiny backseat. Chris grins smugly at him in the rearview mirror.

Nat buckles into the driver's seat and starts the ignition.

 

**EXT. CHRIS' HOUSE - FRONT - DAY**

At the sound of the engine, Katya looks at her phone. The little tracking dot dips south, away from the bungalow.

KATYA  
They're on the move.

BELOVA (V.O.)  
Then pursue them!

Katya checks around the side of the house but the yard is blocked by overgrown bushes and old scrap building materials.

She trades out her phone for a handgun and readies her stance in front of the door. Sometimes the fastest way out is through.

Her left leg bends upward and KICKS.

 

**INT/EXT. PORSCHE - BACK ALLEY - TRAVELLING - DAY**

Bucky watches the EXPLOSION over the rooftops as the coupe speeds away.

 

**EXT. CHRIS' HOUSE - FRONT - DAY - LATER**

A group of concerned NEIGHBORS wake Katya up in the yard. They back away when they see her gun lying next to her.

She rubs her temple. Fumbles for the gun. Scrambles upright.

She limps toward the parked Audi. Firetruck SIRENS grow louder in the distance.

 

**INT/EXT. PORSCHE - LONELY ARIZONA HIGHWAY - TRAVELLING - DUSK**

Light fades as the Porsche heads south on a two-lane highway.

Chris digs through his duffle.

CHRIS  
Stay under the speed limit. We don't want to get pulled over.

Nat lays off the gas. The car slows to cruising speed.

CHRIS  
You know, Irina and Lara work for MI6 now, have you talked to them?

NATASHA  
No, but I will. Thanks for the tip.

BUCKY  
How did they locate us so fast?

CHRIS  
It's the Red Room. They have their ways.

Bucky catches sight of blue tinted headlights behind them.

BUCKY  
Speak of the devil.

Chris checks the side mirror.

CHRIS  
That's gotta be her. Damn.

NATASHA  
We can't outrun her. Not in a forty-year-old car.

CHRIS  
We could if we didn't have an extra hundred kilos of dead weight.

Bucky, stuffed in the back seat, throws up his hands like, "Can you believe this guy?"

NATASHA  
We can work this out. She won't hurt me, at least not until they get what they want.

BUCKY  
Guys...

The Audi gains speed, moves into the opposite lane.

CHRIS  
Sure, you'll be fine, but they couldn't give two shits about me or your boyfriend here.

BUCKY  
Guys!

Chris pulls a Glock from his bag and loads it.

NATASHA  
Hold on a second. We don't even know who it is yet!

BUCKY  
Natasha!

CHRIS  
Katya.

Natasha's head turns left.

The Audi drives tandem to the Porsche with its passenger window down.

Inside Katya aims her own pistol at Natasha and Chris. Dried blood clots a cut on her temple. Dirt covers her face.

Chris aims his gun in return.

KATYA  
Pull over.

NATASHA  
This doesn't have to end like Tanya!

KATYA  
Not if you return to the Room.

CHRIS  
Go to hell!

KATYA  
Don't worry, darling. I'll meet you there.

NATASHA  
Let's talk this through!

BWAAAAAMM -- an 18-wheeler plummeting down the opposite way blares its horn. Its lights nearly blind Katya and she SLAMS the breaks.

Natasha drops gears and pounds on the gas, firing ahead.

The Audi JERKS back into the right lane, narrowly missing impact with the truck.

WHACK WHACK WHACK -- bullets meet aluminum on the rear of the Porsche. Bucky ducks.

CHRIS  
So much for negotiations.

He leans out his window and fires back. The Audi swerves left.

NATASHA  
Chris, please!

The Porsche glides around the outside of a much slower pickup truck. Chris saves his rounds.

CHRIS  
I don't know where you got this empathetic vibe all of a sudden, but this is about survival!

NATASHA  
Exactly. There are eight of us. Eight!

Chris considers the significance of that number as the Porsche floats back into its own lane.

The Audi passes the truck and picks up speed.

Another bullet WHIZZES by, snapping Chris back to reality.

CHRIS  
Fuck it.

He climbs halfway out the window, leans over the roof. Aims again. Hits the Audi's passenger side window. Glass shatters.

The Audi pulls in behind them. Chris slips back inside the coupe to reload.

The Porsche hits max speed but the Audi easily catches up.

At the last second the Audi slows, then bolts forward, SLAMMING into the rear of the Porsche.

Katya decelerates for a second attack but the Porsche whips into the left lane.

The Audi drives up next to the smaller car, staring Chris down through her window. She swings out to the right.

CHRIS  
She's trying to ram us off the road!

That gives Natasha an idea. She lifts her foot off the gas and presses the clutch, waiting for the next blow.

The Audi veers back left about to hit the Porsche sideways when Natasha YANKS the emergency brake.

She twists the steering wheel and the car does a backwards 180 before correcting and racing off the road, CRASHING through a barbed wire fence and leaping onto the dirt.

Katya keeps sliding left until her wheels fly off the edge of the pavement and she overcorrects, spinning out.

 

**INT/EXT. PORSCHE - ARIZONA DESERT - TRAVELLING - NIGHT**

This maneuver gains the Porsche some time as it bounces over the rocky desert floor, kicking up dust.

Away from the road, it's now completely dark, save for the Milky Way above.

Bucky peers back at the road. Soon the blue beams point in their direction once again.

Chris digs through his Mary Poppins bag of weaponry and reveals a rifle, loads it, turns to Bucky.

CHRIS  
Can you shoot?

Bucky glares at him in return, offended he would even think to ask such a question.

He holds out his metal arm and Chris passes the gun.

Bucky leans his body back in between the two front seats.

Natasha's eyes plead with his.

Bucky nods solemnly then KICKS the rear window. The glass buckles and most of the panel flies out in one chunk.

It soars behind the Porsche and shatters on the ground. Tiny pieces glitter in the Audi's headlights.

Bucky aims and FIRES. The Audi's lights swerve erratically.

He cocks the gun again and FIRES. But this time Katya's on the defensive, zigzagging left and right. A miss.

The bumpy ground makes the tiny car jitter and lurch at every moment.

Another SHOT. Another miss.

BUCKY  
I can't get a good hit while she's swerving like that!

CHRIS  
(resolved)  
Cut the lights.

NATASHA  
What? Are you crazy!?

Natasha dodges a crop of cacti.

CHRIS  
Cut the lights and hang a left. We can lose her.

NATASHA  
She can still hear the engine!

CHRIS  
It'll be enough to shake her.

BUCKY  
Do it! She's following our lights. She's not close enough to see us with her own!

Natasha surveys the desert. It seems flat and open enough. She holds her breath and FLICKS the light switch, knocks the shifter into neutral.

Far behind them, the Audi slows, too, and steadies into a straighter rhythm.

Bucky aims, breathes, FIRES.

One of the Audi's headlights BURSTS, leaving only a single blue glow as it skids sideways.

CHRIS  
Yes!

Natasha accelerates again, then switches on the lights only to be on a head on collision course with a MASSIVE BOULDER.

She wrenches the wheel to the right but the tail whips out from under them and the car ROLLS.

Bucky tumbles out the rear window. The roof lands on his outstretched metal arm, severing it near his shoulder.

His arm flies one way, Bucky another.

The car keeps flipping over itself, again and again, tossing glass and aluminum everywhere.

 

**EXT. ARIZONA DESERT - NIGHT**

The Porsche finally settles on its driver's side, drifts to a stop and tips back upright, landing on its flattened wheels.

Natasha's red hair dangles out of her broken window. She lifts her head, blinks, turns to Chris.

He's rubbing his face, scraped up but otherwise OK.

She unbuckles, gropes for the door latch and throws it open, collapsing onto the sand.

She winces and grabs her knee while scanning the desert.

In the far background, the Audi zooms closer, one headlight leading, engine sounds growing.

 _Where's the gun?_  She crawls, dragging her legs.

CHRIS  
Here.

Still in his seat, Chris holds out the Glock. Natasha extends her hand and he tosses it to her.

She checks the clip. Then, chest on the ground and arms out in front of her, she aims.

AT THE AUDI

As it speeds up on its approach. The single headlight beams over the wreckage.

AT THE PORSCHE

The light glints off Natasha's eyes. Deep breath and BAM.

Natasha holds her arms steady for a second, waiting.

Chris stumbles away from the car, keeping an eye on that headlight.

The Audi slows but still heads straight for them.

Natasha rolls out of the way as the car glides past, clips the open door of the Porsche, and comes to a stop when it bumps into a boulder. The engine stalls.

Natasha, catching her breath, looks to Chris. He returns her gaze and nods as if to say "I'm alright."

Natasha tucks the pistol in her belt and approaches the Audi.

Meanwhile, Chris collects his fallen duffle, dusts it off, then spies Bucky motionless in the dirt a few feet away.

Chris shuffles over, mumbling curses under his breath.

Bucky's on his back, metal arm missing, his face washed red from the Audi's tail lights.

Chris squats beside him and smacks Bucky's cheek with the back of his hand.

Bucky lets out a moan, squeezes his eyes.

CHRIS  
There ya go...

Bucky opens his eyes, mumbles something. He sees this strange face and out of instinct, he moves, but his arm isn't there.

He panics -- shouting in Russian, flailing and throwing his head back.

Chris braces Bucky's forehead with his palm, to keep him from hitting his skull against the hard ground.

Bucky's words fade and he passes out again.

Chris checks Bucky's other arm. Pulls up his hoodie. No major torso wounds.

BACK AT THE AUDI

Natasha opens the driver's side door.

Katya slumps in the seat. Her hair obscures a gunshot wound in her neck. Blood drains down her shirt.

Natasha checks for a pulse. Dead.

Nat closes her eyes. This isn't what she wanted but she can't do anything about it now.

Chris appears behind her as Nat pulls Katya's body out of the car and lays her in the dirt.

CHRIS  
Your boy's lost his arm.

Nat's head swivels back and she sees Bucky unconscious.

CHRIS  
You should take care of his head or he'll lose that, too.

He plucks the Glock from her waist, inspects the clip.

Ignoring him, Natasha staggers toward Bucky, a slight limp in her left leg.

She finds the arm in the dirt. Drags it with her. Looks back.

With his bag over his shoulder, Chris walks off into the darkness, south, spotlit by that one remaining headlight.

CHRIS  
(yelling, without looking back)  
I'll find you when you need me!

He slips into starry blackness.

Nat kneels at Bucky's left side. Places the arm above him.

NATASHA  
Hey, Barnes, wake up.

He moans, shakes his head. Then his eyes open wide and his right hand FLINGS out, clamping her neck.

She instinctively plucks his hand away but his knee folds up and PUSHES her stomach.

He rolls her over on her back, pinning her neck with his right forearm.

His left shoulder reels back like he's about to punch when he realizes what's wrong.

Nat reaches up, fumbling. Grabs the severed arm. WHACK.

 

**INT. SHITTY MOTEL ROOM - DAY**

The door BANGS when it hits the wall.

Natasha drags a delirious Bucky into the room.

 

**INT. SHITTY MOTEL ROOM - BATHROOM - DAY**

She flips a switch. Florescent light flickers.

She guides Bucky into the tub. He trembles, barely awake and muttering in Russian.

NATASHA  
Sit.

He obeys, squeezing his knees. He can't seem to hold his head up and it rolls back against the tile.

QUICK SHOTS

\-- Natasha fills a cup with sink water.

\-- Holds Bucky's chin and makes him drink.

\-- Smothers him up with blankets ripped from the bed.

\-- Slides a pillow behind Bucky's head.

\-- Nat flips off the light and gently shuts the door.

 

**INT. SHITTY MOTEL ROOM - BATHROOM - DAY - LATER**

The bathroom door swings open again.

The light makes Bucky blink.

 

**INT. SHITTY MOTEL ROOM - BEDROOM - DAY**

Bucky sits on the bed huddled in blankets.

Nat, looking cleaner now, rifles through SHOPPING BAGS on the dresser. Pulls out a FIRST AID KIT. Slides off her jacket.

NATASHA  
Take off your shirt.

He blinks, not registering.

She plops the kit down beside him and rolls his hoodie and shirt off over his head. He looks to his left and jolts.

Natasha holds his shoulder steady and gets to work with alcohol and bandages, cleaning his minor cuts.

He watches her, contemplating.

BUCKY  
(with a Russian accent)  
...Tasha?

She freezes at the sound of her name, then refocuses.

NATASHA  
You have a concussion. Be still.

His eyes follow Natasha as she tears open plastic packaging, plugs some tool into the wall.

She inspects the arm. Then his metal nub. It looks like the arm snapped off at a joint. Torn wires jut from the "wound."

She puts on safety glasses. Checks a tool.

NATASHA  
Look away.

He complies.

Holding the arm between her knees she uses a small soldering gun to reconnect the wires like Ayo did days before.

Bucky's eyes drift back to her.

NATASHA  
Look away.

But this time something catches his attention.

His hand pushes her tank strap aside revealing scar tissue.

The air catches in her throat when his fingers tenderly press on her bullet wound.

BUCKY  
(almost whispering)  
I'm sorry.

He removes his hand and turns away from her.

She simply looks at him. Not knowing what to say.

 

**EXT. SHITTY MOTEL ROOM - DUSK**

The dusty Audi, with a smashed windshield and one busted front corner, rests outside the motel room. The dirt makes the battered paint look almost golden in the setting sun.

 

**INT. FANCY EUROPEAN HOTEL ROOM - DAY - FLASHBACK**

NATASHA'S POV: Everything is bright. Washed out. Blurred edges.

The SOUND of a ticking clock. Gentle music from a radio.

The same tune Nat sang in the Dubai hotel room. Distant traffic. Her own steady breathing.

Looking out over a balcony onto the winding streets below.

She turns back into the white room. Sheer curtains float in the wind.

She sits on the edge of the bed.

A man sleeps on his side facing away from her, partially under a sheet. His exposed metal arm says it's Bucky.

Her finger traces the red star on his shoulder.

He rolls over. Squints. Eyes adjust to the light. Smiles lazily.

NATASHA  
 _Zvezda moya..._

He runs his right hand through his tangled hair. Says something inaudible, clouded by memory.

She moves away but he gently pulls her back by the arm.

We don't need to understand the words to know she's playfully scolding him.

She leans in closer. He lifts himself up on his elbows to meet her for a kiss... then BLACK.

 

**INT. SHITTY MOTEL ROOM - EARLY MORNING - IN THE PRESENT**

Natasha jerks awake, gasping and gripping the arms of the chair she fell asleep in.

Bucky sleeps much like in her dream. His arm reflects the morning sun seeping in through a gap in the curtains.

Her eyes narrow.

QUICK SHOTS

\-- Natasha stuffs her things in a bag.

\-- Put on her jacket.

\-- Leaves cash and the passport on the nightstand.

\-- Daylight washes over the back of Bucky's sleeping head, disappearing with a CLICK of the closing door.

\-- He still sleeps as the Audi's engine fires up outside, then fades away.

 

**INT. LONDON CAFE - DAY**

Natasha sits at a table wearing her standard uniform of tank top, jeans, and leather jacket. She opens a manila folder and flips through papers.

Opposite her are two women, LARA, a smiling Asian brunette with both hands wrapped around a cup of coffee, and IRINA, a stern blonde looking far less pleased than in their wedding photo.

IRINA  
We're taking a big risk here.

Lara shoots Irina a silent LOOK. Bumps her with her elbow.

LARA  
Don't mind her. We're so happy to see you, Natasha!

NATASHA  
(motioning to the folder)  
Thank you, truly.

IRINA  
All this was before our time at MI6 so we had to do some digging.

Lara leans forward, gently setting down her cup.

LARA  
In 2004 you and an unnamed male spy made plans to deliver intel on Madame Belova's operations with the Red Room in exchange for asylum in the U.K.

NATASHA  
(under her breath)  
Barnes...

LARA  
What?

NATASHA  
Nothing.

IRINA  
But you never arrived, never made contact. The only thing they received from you was this note.

She slides an envelope across the table.

NATASHA  
From Chris...

Natasha unfolds a photocopied sheet of paper with a series of scribbled numbers.

IRINA  
Does it make any sense to you?

Natasha shakes her head "no". Turns her attention to photographs of BELOVA'S ARREST.

NATASHA  
How'd they catch Belova in the end?

Irina leans back in her seat. Folds her arms.

IRINA  
Well, without your promised intel the Brits couldn't go after her directly.

LARA  
It was a joint agreement with the Russians. Putin didn't want news of the Red Room going public so he compromised. Abandon the Room and put Belova in a penal colony rather than be prosecuted by the Hague.

IRINA  
They tricked her into meeting in Moscow where they arrested her.

Lara places a MUG SHOT of Belova atop the other papers. In the photo, Belova has a black eye and cuts on her face. She certainly didn't go down without a fight.

NATASHA  
Why Moscow? Why not infiltrate the Red Room? It's out in the middle of nowhere, unpopulated, less risk of collateral damage than in a city?

Irina and Lara look at each other, confused.

IRINA  
Because of the missiles.

NATASHA  
Excuse me, the what?

LARA  
The missile stockpile kept at the compound? If Belova had even a hint as to what was coming she could have easily used the bombs defensively, maybe even against Moscow.

Nat picks up the paper, re-reading those numbers. Trying to make a connection.

NATASHA  
Right, right... What happened to the bombs?

IRINA  
There's no record on that. As far as I can tell, MI6 doesn't even know about them.

Natasha drops the paper and slams it with her fist.

NATASHA  
But the Russians certainly did. What did they do with them? And why release Belova after all these years?

Irina looks to Lara. Lara shrugs.

LARA  
They only locked her away in the first place to appease the Brits. Maybe they felt sorry for an old, sickly, wheelchair-bound lady with a few months to live? What harm could she do now? And she dedicated her entire life to the Black Widow program, to Russia. Maybe it's about some sense of loyalty?

IRINA  
(scoffs)  
Lara, when have you ever known the KGB to be loyal to anyone?

LARA  
Forget it. Regardless of reasons, they wouldn't dare release her if the missiles were still in play.

IRINA  
Maybe the Russians know something we don't.

 

**INT. LONDON HOTEL HALLWAY - DAY**

Natasha's about to insert her key card only to find the door to her room slightly ajar.

She slides one sleeve up to reveal her Widow's Bite. She presses a button and the cuff lights up, ready to strike.

 

**INT. LONDON HOTEL ROOM - DAY**

Bucky waits on the edge of the bed facing away from the door. He doesn't turn around. She lowers her wrist.

BUCKY  
I figured you'd go to London next. I remembered you liked this hotel.

Only after she's standing in front of him does he look up.

BUCKY  
Give me a chance to explain.

Natasha pulls the photocopied paper from her jacket.

NATASHA  
Launch codes. For a missile stockpile at the Red Room. Codes that I changed before we were supposed to defect _together_!

She shoves the sheet in his face but before he can read it she snatches it back, stuffs it away.

BUCKY  
Launch...? I - I had no idea. You were the one who planned everything and didn't tell me in case I got caught. I didn't even know where we were running to!

NATASHA  
What did you think I was doing before we left!?

BUCKY  
Forging documents, laundering cash, how should I know!?

Natasha tries to keep her cool.

NATASHA  
James, why didn't you tell me about... us?

BUCKY  
I asked. You said you wanted to remember on your own so I...

He rubs his face with his right hand. He can't look at her.

NATASHA  
When you said you "brought me in" I thought you meant... No. No, no, no, no...

Realization floods her face. She shakes her head. Backs away.

BUCKY  
I was trying to protect you.

He stands up, his arms out before him, pleading.

NATASHA  
How? By sending me back there? Back to the Red Room!? How is that protecting me from  _them_?

She steps in closer, challenging him.

BUCKY  
Not from them. From _me_.

Bucky pushes her jacket off her left shoulder, taking her by surprise.

BUCKY  
I did this!

He digs a warm finger into her bullet SCAR.

BUCKY  
And this.

His cold hand slides under the hem of her shirt, wrapping around her lower back to the nasty exit WOUND on her abdomen.

He presses her tightly to him with his metal arm.

BUCKY  
But before that, I did this.

He yanks the jacket down further and grips her bicep a little too forcefully with his right hand. She winches.

His thumb traces a THIN LINE along the inside of her upper arm -- a knife wound, perhaps?

NATASHA  
No... That's not right. That's from...

BUCKY  
And this.

His fingers swim through her hair, pushing back strands to expose a SCAR hidden at her temple.

He holds her close, arm draped around her waist like they're dancing. Hand cupping her face. Her eyes meet his. His voice softens.

BUCKY  
I never wanted to hurt you but they found me, turned me. I realized that even if I managed to escape there was no guarantee I couldn't be controlled. I would _always_  be a danger to you.

His face bends down to hers. Her body stiffens.

BUCKY  
I am the reason you don't remember. I turned you in to Belova. I made you forget you ever loved me.

Her expression morphs from shock to rage.

She SHOVES him away with both hands.

NATASHA  
You -- how could you!? You knew what it's like! How could you let them do that to me!?

BUCKY  
It was the only way I knew to keep you safe! Believe me, I considered other options but I didn't want to cause you more pain. Besides, you got out, later, sure. But you made it out!

Natasha paces around the room, pulling up her jacket defensively.

NATASHA  
In five years! It was another five years before I was recruited by SHIELD. But in those five years I did things I can never take back, I can never atone for! Sal Paolo, the hospital! All because you thought you could save me! Did none of those people I killed, families I destroyed, did none of them matter to you?

BUCKY  
 _You_ mattered to me! What was the alternative? Let them kill you? Let them make _me_ kill you?

NATASHA  
It wasn't your choice to make!

She stops in front of him, staring him down. He takes a deep breath, holds his hands out to calm her.

BUCKY  
Natasha, I am so --

NATASHA  
Don't! After they... they erased my brain, did they wipe yours, too? Did you even remember me when you attacked us on the freeway in D.C.? Or in Berlin with Zemo?

BUCKY  
No, not then, I --

NATASHA  
Did they force it on you? No... Not that time. You asked them to do it. Because you knew what you did was wrong and you didn't want to have to live with the guilt!

She turns her back to him, eyes shut. He steps closer, holds out his right hand.

Before it touches her shoulder she whispers in Russian:

NATASHA  
Longing.

Bucky freezes.

NATASHA  
Rusted.

He pulls his arm back.

NATASHA  
Seventeen.

BUCKY  
No, no, no...

She turns to face him.

NATASHA  
(louder)  
Daybreak. Furnace.

BUCKY  
(also in Russian)  
Natalia, stop!

Panicking, he tries to cover her mouth with his palm.

She blocks with her right forearm, aims her left cuff at his forehead. It lights up.

NATASHA  
Nine. Benign.

BUCKY  
(voice breaking)  
Please, don't do this!

He trips. Stumbles to his knees. Scoots back against the nightstand. Bumps the table lamp sideways.

NATASHA  
Homecoming. One. Freight car.

Bucky huddles on the floor, shaking, covering his head like he's bracing for impact.

But Natasha lowers her arm. Switches back to English.

NATASHA  
Leave. Go back to your ice box in Wakanda. Go find Steve. I don't care. Don't ever try to look for me. Forget you ever knew me. I never want to see your face again.

She strides to the door, grabbing a backpack on her way out.

Bucky lowers his hands, overwhelmed, trying to breathe.

 

**EXT. LONDON HOTEL PARKING GARAGE/STREET - DAY**

Bucky, on a motorcycle, rides onto the quiet side street.

He's stoic, more composed now. Determined.

He stops at an empty intersection, waiting for the green, when he hears the rumble of a looming ENGINE.

In the REAR VIEW MIRROR, a white VAN speeds toward him.

Bucky glances back, hops off the bike -- but it's too late.

The van SMASHES into his bike, throwing him onto the curb.

Brakes SQUEAK and a WOMAN wearing a hijab runs from the van toward him.

BUCKY'S POV: His vision is hazy as he peers up at the sky. The woman's face comes into view, kneeling over him.

WOMAN  
(in a Pakistani accent)  
Mister, Mister! Are you hurt?

BUCKY  
Oh, no...

As his vision clears, the woman pulls down her hijab and smiles knowingly. She winks. Speaks in Russian.

VERA  
Hello, my dear Soldier. So nice to run into you like this.

Then Anya appears next to her, hovering over him, blocking out the sun.

She holds up a SHOCK STICK. When it hits him, Bucky lets out a SCREAM.

 

**EXT. NATASHA'S APARTMENT BUILDING - NIGHT**

Natasha holds her mail with one hand while unlocking the door with the other.

The little black cat MEWS at her feet and follows her inside.

 

**EXT. NATASHA'S APARTMENT - BALCONY - NIGHT**

Natasha shakes the contents of a tuna can onto a plate on the floor. The cat attacks the fish like she hasn't eaten in weeks.

Nat picks up a glass of wine and relaxes on the brick ledge of the balcony.

NATASHA  
Listen, Liho, I told you I didn't mind you hanging around here. I said I'd feed you every once in awhile, but I'm not adopting you. And you can't lick me. Seriously, how could I take care of a cat?

Liho takes a final lick of the plate then jumps into Natasha's lap. Nat scratches the cat behind the ears.

NATASHA  
But don't go making this a thing. No biting or scratching. No whining at me, or I'm going to get upset, got it? But as long as we're okay, we're okay.

BRRRING. Nat reaches for her phone.

NATASHA  
Lara?

LARA (V.O.)  
MI6 just received a random message but I know it's for you. I'm sending the picture right now.

She pulls the phone from her ear and an IMAGE loads on the screen: Bucky's face, unconscious in a darkened room.

Nat bolts up from her spot. Liho leaps away with a tiny MEOW.

NATASHA  
It's Barnes. They have him.

LARA (V.O.)  
We know.

NATASHA  
I have to go get him, even though that's exactly what they want. Damnit, why did I say the words!?

She puts a palm to her forehead, anxious, pacing.

LARA (V.O.)  
We can get help. The British, the Americans, we can get a task force, do it covertly. Or maybe the Avengers --

NATASHA  
No, I can't risk him getting captured. Bucky is a wanted fugitive. I have to do this myself.

LARA (V.O.)  
Natasha, _you're_  a wanted fugitive. And we have your back.

 

**EXT. NAPLES, ITALY - DOCKS - YEARS AGO - DAY**

A much younger Natasha waits at the end of a pier, hair coiffed, wearing a chic trench coat. She twists a tube of lipstick and applies it while looking into a compact mirror.

IN THE REFLECTION

Bucky approaches behind her. His face is down but his eyes are up, fists stuffed in his coat pockets.

Natasha snaps the compact shut, tucks it away. Bucky stands beside her and they gaze out over the bay.

BUCKY  
I wasn't sure if you'd be here after, well --

NATASHA  
I only just arrived. Had to take care of some last minute business at the Red Room. Call it _insurance_.

BUCKY  
That's not what I meant.

The backs of his fingers graze her upper arm. She flinches.

NATASHA  
Stitches. I'll be fine.

BUCKY  
I'm sorry, Tasha --

NATASHA  
No, it wasn't you. I know that. And it won't happen again. Not anymore. I'll be sure of it. Ready to go?

He accompanies her aboard a small YACHT docked to their left.

She enters the hold first. Bucky glances behind him before heading inside.

 

**INT. SMALL YACHT - DAY**

Bucky waits awkwardly along the wall of the little cabin, just wide enough for a couch and a kitchenette.

Natasha gets to work, opening a drawer and pulling out a stack of forged DOCUMENTS. Finds an Italian passport.

NATASHA  
Here's your pass--

She pauses with her arm outstretched as a younger, elegantly dressed Madame Belova descends the stairs.

Natasha drops the passport and hardens her face.

BELOVA  
You've had your fun but it is time you returned home, Natalia Alianova.

Nat ignores her and focuses on Bucky instead.

NATASHA  
Why do this? Now, after everything?

BUCKY  
It never would have worked, not after --

NATASHA  
I had a plan! I had contingencies! All you had to do was trust me!

BUCKY  
That's the thing. It's easy for me to trust you but you can't trust me. I can't trust me! I'm sorry --

NATASHA  
Save your apologies for yourself, James.

BELOVA  
 _James_? It seems you are more resourceful than I thought.

NATASHA  
You trained us to uncover secrets. Are you surprised that I discovered his? Or _yours_?

Natasha steps in close to the other woman and cocks her head.

BELOVA  
Please, come willingly, Natasha.

NATASHA  
Or what? How many agents do you have out there? Who are they? KGB? Hydra? Red Room? No, you wouldn't want the girls knowing you let another one escape. It might give them hope. Except Anya, mommy's favorite. Mommy's little recluse. You know she'd never leave.

Natasha bends to pick up the passport.

NATASHA  
Is this how it ends, James?

BUCKY  
Yes.

NATASHA  
Not for me.

She rips it in half. The pieces fall in slow-motion and her arms wrap across her torso, hands sliding inside her coat like she's grabbing two guns.

In response, Belova reaches in her own jacket and pulls out a revolver.

Bucky shoves her arm away as the gun FIRES into the wall.

Instead, Natasha throws a SMOKE BOMB and covers her face with a gas mask.

The room fills with gray clouds. More GUNSHOTS. Grunts. Belova SCREAMS. CRACK.

 

**EXT. NAPLES - DOCKS - DAY**

Natasha darts off the yacht and onto the pier.

Armed HYDRA AGENTS pop out from cover on other boats and block her path.

Using a pile of crates as a ramp, she LEAPS in the air, TACKLING the first agent with her legs.

She swings, SLAMMING the man's body into the another man behind him like bowling pins.

She rolls back on her feet, grabs an agent's RIFLE and SMACKS the butt into his face then seals the deal with a KICK to the gut. He falls off the pier into the water.

BACK AT THE YACHT

Bucky bursts through the door to the deck, gagging.

Belova climbs out after him, clutching her broken nose with a handkerchief.

ON THE PIER

The Widow back KICKS an oncoming assailant then whips around, snatches his knife from his hip pocket and slashes at approaching enemies.

She zips past a large agent and parkours over a docked yacht, flying several feet from the roof to the deck of a neighboring SPEEDBOAT.

The frightened CAPTAIN dives into the water. With the engine already running, Nat grabs the wheel and races into the bay.

AT THE YACHT

BUCKY  
She's better than them. Faster. Smarter.

BELOVA  
But not as good as her.

Anya pulls up in another speedboat at the end of the dock. She jumps off and runs to Belova, placing a palm to her face.

ANYA  
Mother, what did she do to you?

Belova whacks the girl's hand away.

BELOVA  
Go after her!

 

**EXT. NAPLES - BAY - DAY - TRAVELLING**

Anya helms her speedboat in pursuit of Natasha's.

A handful of Hydra boats join the chase.

Nat swerves to avoid traffic in the bay as she heads south.

ON ANYA'S BOAT

Belova plays backseat driver while Bucky sits behind, concerned but silent.

BELOVA  
Turn, turn now! Faster! She's getting away!

She glances back at Bucky.

BELOVA  
If she escapes it'll be your head.

BUCKY  
See if I care.

He glares at her, defiant. She pulls out a cell phone from her pocket. Dials.

BELOVA  
Kill her.

BUCKY  
What?!

ON NATASHA'S BOAT

The surrounding Hydra boats speed ahead and agents begin firing on Natasha.

She ducks her head and swerves, splashing water on a boat that gets too close.

ON ANYA'S BOAT

BUCKY  
You wanted her alive!

BELOVA  
No, you wanted her alive.

BUCKY  
Call it off now or I'll --

His metal hand forms a fist but Anya whips out a sidearm, aims at him.

BELOVA  
Bring her in or I will. In a bag.

She snaps her fingers and Anya slows the throttle, turns back and lifts the lid on a storage chest. Pulls out a RIFLE. Hands it to him while still aiming her own gun.

BELOVA  
Hurry, Soldier. Their bullets won't miss forever.

The boat slows to a drift and he kneels. It's a risky shot with the movement of the water. He steadies his aim to the rhythm of the waves.

THROUGH THE SCOPE

Natasha's boat heads straight for open sea. He spots the back of her head. Then angles down to her torso standing behind the wheel.

BUCKY  
(whispering to himself)  
Come on, come on. Move!

She turns her body sideways to look over her shoulder exposing the steering column and gauges.

He FIRES.

ON NATASHA'S BOAT

The bullet SMASHES into the speedometer, shattering glass and shooting sparks.

Natasha backs up instinctively, letting go of the wheel. The boat suddenly slows and curves to the left, right into an oncoming Hydra boat.

They SLAM into each other and Natasha's boat tilts sideways, throwing her with it. Her head smacks into the railing, knocking her out. The whole thing rolls upside down.

ON ANYA'S BOAT

Bucky immediately rams the throttle, speeding to the crash. Satisfied, Belova motions for Anya to put away the gun.

Bucky doesn't bother slowing down as they approach the overturned hull.

UNDERWATER

He dives into the water, swimming until he finds her body.

ON THE SURFACE

Bucky holds Natasha upright as they bob in the wake. She's covered in watery blood from the gash in her scalp.

Bucky's relieved when her eyes flutter open, but then she remembers her anger. She spits saltwater in his face.

 

**INT. RED ROOM COMPOUND - UNDERGROUND - NIGHT**

Hydra agents drag Natasha kicking and screaming into a Soviet era lab filled with computers, scientific equipment and what looks like an evil dentist's chair.

Her forehead is bandaged, bloody. She flails erratically.

She's groggy, incoherent, wincing. Not in top form or else she'd be giving these burly agents what for.

IN A SIDE ROOM

Bucky, Belova, and Anya watch from behind a two-way mirror.

BUCKY  
She's still in pain.

BELOVA  
She cannot be completely sedated.

IN THE LAB

Agents strap Natasha into the chair. They try to attach monitors and but she wrests them away. They restrain her arms.

NATASHA  
You bastards! James! James!!

A HELMET lowers over her head.

BEHIND THE MIRROR

Electric sparks light up their faces. Bucky shuts his eyes.

BUCKY  
You can't just wipe her clean. That'd be almost a year gone.

BELOVA  
No, "selective memory replacement." We'll give her new memories, in keeping with her purpose, of course. Though perhaps something a little lighter, hmm? She's always been an excellent ballerina.

Anya scowls in the background.

BELOVA  
We could give her a past with the Bolshoi. Wouldn't that be nice? Is that what you want, Soldier?

BUCKY  
I want to be next.

Natasha SCREAMS.

 

**INT. TRAIN - DAY**

Her voice morphes into a TRAIN HORN.

Natasha peers out the car window. White flakes float outside.

A conductor passes down the aisle.

CONDUCTOR  
(in Russian)  
Tickets.

 

**EXT. TRAIN PLATFORM - DAY**

The train abandons Natasha and her suitcase at a modest open platform on the edge of a tiny village somewhere outside Moscow.

As she proceeds into town, her feet leave valleys in the freshly fallen snow.

 

**EXT. FOREST - DAY**

Natasha, now donned in all white tactical gear (a winter version of her Widow suit, complete with silver WIDOW'S BITE wrist cuffs and a red, hourglass-shaped BELT BUCKLE), trudges through the snow. Her red hair peeks out from under a fur hat.

CHRIS (O.S.)  
You're sloppy. That trail will be hard to miss.

She doesn't bother to look in his direction.

NATASHA  
They already know I'm here.

Chris appears from behind a tree and walks alongside her. Loads a hunting rifle.

NATASHA  
I'm surprised you're here. 

CHRIS  
I got tired of running.

He cocks the rifle.

A large compound of buildings looms in the distance, sheltered by snow-covered forest.

 

**EXT. RED ROOM - COMPOUND - DAY**

The same view of the compound becomes the POV of a set of binoculars held by Lara.

She lowers them as Chris and Nat approach the little camp hidden just inside the edge of the trees where Lara, Irina, and Ayo have been waiting.

Natasha gives Lara a hug, nods at Irina, then looks Ayo up and down.

NATASHA  
Nice to see you again, Ayo. How is T'Challa? 

AYO  
My King is well. He learned of what happened at the school and ordered me to assist you. 

NATASHA  
He ordered you?

Nat raises an eyebrow.

AYO  
I volunteered.

Chris brushes past.

CHRIS  
Tsk, tsk. You've obviously never been this far north. Not dressed for it.

Ayo adjusts her puffy coat.

CHRIS  
This ain't Africa, lady. But it is the heart of darkness.

He pulls Natasha aside.

CHRIS  
What were you thinking bringing her here? 

NATASHA  
You heard her. She's a volunteer. 

CHRIS  
She's a liability. 

NATASHA  
Ayo can fight as well as you. 

CHRIS  
I don't doubt that but this place is a maze. She'll get lost. I'm not going to be her guide dog. 

NATASHA  
We were all trained together. We know each other's strengths and weaknesses because we share them. She's an unknown. We can use that to our advantage. And if you don't like it, well, she's not your responsibility.

Nat brushes past him and the rest of the team gathers around.

NATASHA  
Thank you for being here. I know you're angry. I know this is the last place you want to be but please remember, this is first and foremost a hostage situation. Let's keep everything under control and we can all make it out of here safely. If anything goes south, if someone gets hurt, if you get a bad feeling, I want you at the extraction point. Don't take any chances, don't be reckless.

Lara and Irina share a glance.

NATASHA  
Belova and what's left of her loyalists are expecting me, but they're not expecting you. Let's keep it that way. I'll enter through the front while you sneak in from the east. Once we're all inside and I have a better idea of the situation, we'll rendezvous via radio, got it?

CHRIS  
You're just gonna waltz on in head first? You know it's a trap. 

IRINA  
Of course it is. And that's how you know she won't get caught in it. 

LARA  
What if something happens to you?

 NATASHA  
Then you do whatever it takes to find Barnes and get the hell out.

 

**EXT. RED ROOM COMPOUND - DAY**

The main house at the fore of the compound is a regal, but aged, early 20th-century brick MANSION, likely built just before the revolution, then reappropriated for "public" use.

To the side sits a series of long, metal, military block buildings constructed some half a century later.

Behind, nestled into a shallow valley, are massively wide, flat, windowless concrete structures almost entirely covered by snow and topped with half a dozen RADAR DISHES.

Like icebergs, only the tops of these bunkers peep up from the earth. The majority of the mass digs deep underground. On the roof of the largest structure is a helicopter LANDING PAD.

Natasha, alone, plants a firm foot on each step as she ascends to the mansion's entry doors.

When she reaches for the handle she notices the door is already open.

 

**INT. RED ROOM - MANSION - FOYER - DAY**

Even though it's been abandoned for years, the interior is still elegant with carved wood trim and delicate tile work.

Perfectly silent, Natasha walks further into the house. She stands tall, ready, prepared.

Soft PIANO music lures her into--

 

**INT. RED ROOM - MANSION - PARLOR - DAY**

\-- a high ceilinged parlor with a fireplace. There she sees

BUCKY, hunched in a chair, in profile, silhouetted by light from big bay windows on the far side.

She slides to her knees in front of him. Brushes his hair aside and holds his face in her hands.

BUCKY  
(drowsy)  
Tasha? 

NATASHA  
Oh, thank God...

A bulky metal device binds his left arm, rendering him powerless to lift it.

The piano music ends. 

BELOVA (O.S.)  
I feared I had forgotten that song. You see, there was no piano in the gulag.

Natasha looks back toward the doorway.

Belova rolls out from behind an upright piano in her wheelchair.

BELOVA  
How good it feels at last to be home.

Natasha concentrates on detaching Bucky's restraint.

BUCKY  
Natasha, get out of here.

NATASHA  
What is this thing? 

BELOVA  
Hydra was kind enough to lend us a control devise along with their asset. 

NATASHA  
Let him go. 

ANYA (O.S.)  
Give her the code.

Anya steps through the doorway, her finger on the trigger of a small pistol. Natasha shakes her head and laughs.

NATASHA  
Ha! After all this and you still don't know it?

Nat holds up Bucky's chin, smiles sweetly.

NATASHA  
You had the answer right here the whole time. 

BUCKY  
What are you doing?

She looks him in the eyes.

NATASHA  
It's his birthday. 

BUCKY  
What? No! 

ANYA  
Bullshit.

Nat's eyes shift to Belova's.

NATASHA  
Now let him go. 

BELOVA  
You've never been one to be sentimental, Natalia Alianova. I have no patience for your games, child. Tell me the code, now!

 NATASHA  
(rolling her eyes)  
That _is_ the code. I gave you what you wanted. Now unlock this thing! 

BELOVA  
I see you will not be moved so easily. Anya, would you do the honors?

ANYA  
Happily, Mother.  
(speaking in Russian)  
Longing.

Bucky twists in his seat.

BUCKY  
No!

ANYA  
Rusted.

NATASHA  
James, don't listen to her! 

ANYA  
Furnace. Daybreak.

Anya moves slowly behind Bucky's chair.

BELOVA  
Tell me the answer.

Bucky screams and writhes. Nat struggles to hold him still.

NATASHA  
I already did! I swear. Belova, stop this!

ANYA  
Seventeen. Benign. Nine.

Natasha shakes her head. Tears well up in her eyes.

BELOVA  
This is your last chance. What is the code!? 

NATASHA  
This isn't you, James. Focus on me. Focus!

 ANYA  
Homecoming. One. Freight car.

Bucky's demeanor shifts. He's calm, blank-faced.

BELOVA  
(in Russian)  
Soldier? 

BUCKY  
(also in Russian)  
Ready to comply.

Natasha slowly gets up, body tense, defensive.

Anya unlocks Bucky's restraint. It cracks the tile when it hits the floor.

BELOVA  
Kill her.

Natasha lifts her arm, aimed at Bucky. Her Widow's Bite cuff glows blue with electricity.

The Soldier stands, stone-faced and tall. He takes heavy, deliberate steps toward her.

NATASHA  
James, you don't want to do this.

She backs up until she meets the fireplace mantel. He keeps advancing.

NATASHA  
James, please, it's me, remember?

The cuff's glow brightens, about to release the charge when --

BUCKY  
(softly)  
I remember.

In a split second his left hand snatches her outstretched wrist.

He whips around, blocking her body with his while aiming her Bite at Anya.

An electric ZAP hits the blonde in the chest. She SEIZES, causing her finger to squeeze the trigger.

The BULLET punctures the left side of his abdomen.

Anya drops to the floor, the gun with her. Belova SHRIEKS.

Bucky wraps his arm around Nat's waist and he hurls them both through the bay window.

 

**EXT. RED ROOM - WOODS - DAY**

Nat and Bucky land in snow outside the mansion. They roll to their feet and run for the nearby forest.

They make it to the safety of the trees when Bucky tumbles into the snow.

Natasha helps him sit with his back against a tree. Bucky winces. Nat checks his injury.

BUCKY  
Guess we're even now, huh? 

NATASHA  
No exit wound. Not good. Gotta get you out of here. That was a reckless move, even for you. 

BUCKY  
I have a concussion, remember? You can't expect me to make the best decisions right now.

Natasha tries not to smile as she unpacks a bandage from her thigh pocket.

NATASHA  
The trigger words -- what happened? 

BUCKY  
After you said them in London I realized they didn't work. Not anymore. Don't know how. I was just biding my time until I could get that thing off my arm. 

NATASHA  
(with a laugh)  
Maybe you need to get hit in the head more often!

 

**INT. RED ROOM - MAIN HOUSE - PARLOR - DAY**

Belova shakes her daughter awake.

BELOVA  
Anya? Anya!

 ANYA  
(rubbing her temple)  
I'm fine. Where did they go?

 ANYA  
They're in the woods. Get after them, girl!

 ANYA  
What about y-- 

BELOVA  
Bring her to the control room!

Anya unsteadily climbs to her feet and looks to the window.

 

**EXT. RED ROOM - WOODS - DAY**

Natasha finishes tying Bucky's bandage.

NATASHA  
On your feet, soldier.

She turns to head further into the woods. Bucky stands.

BUCKY  
I remember there's an entrance to the lower levels back this way. 

NATASHA  
And the extraction point is this way.

She keeps walking.

BUCKY  
Uh, excuse me? We can't leave yet. 

NATASHA  
Watch me. 

BUCKY  
You don't understand. I saw the weapons control room. I saw the maps. Once she gets the radar up and running they'll be ready for launch!

NATASHA  
Good. 

BUCKY  
Good?!

 

She pulls a radio from her belt, about to switch it on.

NATASHA  
So she wants to blow up the Kremlin or whatever! What do I care? They're not nuclear bombs.

Bucky grabs her by the arm and pulls her to face him. Nat drops the radio. She tries to reach for it but his metal arm squeezes her too tightly.

BUCKY  
No, they're surface-to-air missiles! She's not aiming them _at_  Moscow. She's going to take down every international flight  _into_  Moscow! Every other country will be forced to retaliate. _That's_ what she wants. World War III! She wants the whole planet to suffer, not just Russia. It may not start with nukes, but it'll end with 'em!

Natasha bites her lower lip. Bucky relaxes his grip.

NATASHA  
See, this is why I don't tell you things... First of all, I didn't come back to this hellhole to save the whole world. I came back to save you!

He's too angry to be flattered.

BUCKY  
Is that why you handed the code over so easily?

She turns away from him. Hands on her hips.

NATASHA  
I wouldn't call that "easy." I mean, it was mostly the truth. Either way, they'll figure it out soon enough. 

BUCKY  
So it's not my birthday?

She pauses, looks back.

NATASHA  
It is.

 BUCKY  
March 10th, 1917? 

NATASHA  
No, the other one.

He thinks it over for a moment, then remembers.

NATASHA  
And second of all --

A GRENADE sails overhead and lands in the snow at their feet.

They both look down, then to each other, then they dive behind opposite trees.

 

**INT. RED ROOM - DORMITORY - DAY**

Chris, Ayo, Irina, and Lara make their way through the long building lined with rusty beds when they hear the EXPLOSION.

Chris pulls out his radio.

CHRIS  
Natasha, come in... Natasha?

Irina tries her radio. Nothing.

AYO  
That was quicker than anticipated.

 IRINA  
Our window just got tighter. 

CHRIS  
Right. We ought to split up. One team checks the main house, the other, the extensions. 

LARA  
Agreed.

Lara sits on one of the beds. The springs CREAK.

CHRIS  
Ok, Irina, come with me and we'll take the downstairs. 

IRINA  
Negative. Lara and I stay together. Always.

Chris sighs. Ayo pretends not to notice his side-eye.

CHRIS  
Fine. Move out. Keep your radio on.

Ayo follows Chis out the door at the far end of the dorm.

Lara, still seated on the side of a bed, fumbles with a set of handcuffs attached to the corner bedpost.

Irina waits at the door.

IRINA  
Larochka...

LARA  
I'm sorry. I was just thinking.

 IRINA  
About?

LARA  
About how we aren't children anymore. 

IRINA  
We never were.

 

**EXT. RED ROOM - DORMITORY - SNIPER'S SCOPE POV - DAY**

Through a window we see Lara get up from the bed to leave with Irina.

The view quickly pans across, outside the building, until it tracks Ayo and Chris treading through the snow toward the back of the complex.

 

**EXT. RED ROOM - MANSION - ROOF - DAY**

Vera leans over from behind the sniper rifle, her eyes following Ayo and Chris.

She abandons the gun and climbs across the roof.

 

**EXT. RED ROOM - WOODS - DAY**

Bucky and Nat slog through knee-deep snow away from the mansion.

NATASHA  
See that ridge, not much farther. That's the extraction point. Get there and you're safe. Got it?

Bucky huffs and puffs, about to protest when BOOM.

Another grenade explodes behind them. They both roll down a short hill. Nat loses her fur hat.

BUCKY  
We won't reach it. Not in six feet of snow. We have to make a stand! 

NATASHA  
I'll hold her off. Go! Now!

BOOM - again, a grenade. This time closer. Snow sprays over them. Nat drags Bucky to his feet.

BUCKY  
I won't leave you here! 

NATASHA  
You were always so stubborn! 

BUCKY  
 _I'm_ stub --?

Anya appears at the crest of the hill. Nat aims her wrist.

ANYA  
Ah, pillowtalk. Hope I'm not interrupting. 

NATASHA  
He's leaving. Stay back, Anya. 

ANYA  
You don't deserve those.

Nat glances at her Widow's Bite.

NATASHA  
I earned them. Unlike you. You were always Mommy's little recluse. Safe in the big house. You were never a real Black Widow. You never had to fight to survive like the rest of us.

Anya clenches her fists.

ANYA  
You'll regret that. 

NATASHA  
I regret a lot of things.

Then she twists sideways and fires an electric CHARGE, zapping Bucky in the neck.

Shocked, he collapses into the snow, unconscious.

Anya picks her jaw up off the floor as Nat aims at her again.

 

**INT. RED ROOM - CONTROL ROOM - DAY**

Anya and Nat, with her wrist still aimed, enter the Control Room bunker. The door shuts automatically behind them.

Belova sits before an array of outdated computer screens and switchboards. She rolls her chair to meet them.

NATASHA  
I came willingly. Now let's get this over with. 

BELOVA  
Forgive me if I don't believe you.

 ANYA  
She wanted to spare the Soldier. 

BELOVA  
Of course she did.

 

The headmistress reveals a revolver, aims it at Natasha.

Belova points the barrel off to the side, indicating. Nat turns to see the CHAIR -- Hydra's mind control device.

NATASHA  
I thought you wanted me to remember the code, not forget it again?

BELOVA  
It's a precaution.

Natasha hesitates. Then moves. Slowly. Breathing deeply as she settles into the seat.

Anya pulls a lever and metal straps wrap her arms and ankles. Natasha shifts uncomfortably.

Anya next unhooks Nat's Widow's Bite from each arm.

ANYA  
You'll not be needing these anymore.

She snaps them onto her own wrists, flaunting.

BELOVA  
You've done well, child. Now eliminate the Solider.

NATASHA  
Anya, that wasn't the deal!

ANYA  
But mother, don't you -- ?

 BELOVA  
With her restrained, I no longer need you here.

 ANYA  
But this moment -- I wanted to be with you when -- 

BELOVA  
Do as you are told, girl!

Anya bites her tongue.

NATASHA  
She leaves and you get nothing! Nothing, you hear me?!

She wriggles against the restraints.

Belova remains stern. Anya finally complies.

 

**INT. RED ROOM - BELOVA'S PRIVATE OFFICE - DAY**

Lara and Irina step into the room. A broad, intricately carved antique desk is framed by tall, narrow windows.

On a side wall rests an old bed with some kind of medical monitor set up next to it.

Irina inspects the bed. It's unmade, with a distinctive depression in the center of the mattress.

Lara flips through stacks upon stacks of folders on the desk. She sees one with her name on it, flips it open. Finds a photo of herself paperclipped to a sheet. Frowns.

LARA  
She's obviously been staying here. 

IRINA  
No kidding. But it wouldn't hurt to make sure.

Irina nudges Lara aside and opens a lower cabinet. Pulls out a half-full bottle of vodka.

IRINA  
Gotta admit, the old hag liked the good stuff.

She untwists the cap, takes a swig. Pushes everything off the desk and hops on top. Leans back, offering Lara the bottle.

Lara folds her arms and tries not to smile. Irina takes another sip then pats the desk and winks -- an invitation.

LARA  
(scoffs)  
We're working! 

IRINA  
Come on, when are we ever going to get an opportunity like this again?

The thud of FOOTSTEPS catches their attention.

Bucky leans against the door frame, clutching his side.

 

**INT. RED ROOM - BASEMENT HALLWAY - DAY**

Chris and Ayo peer through the tiny windows on the metal doors into each darkened room along the hall.

All empty interrogation or isolation cells. A single chair, maybe a desk or a bedroll in each one. Peeling paint on the walls. A single dead light bulb on the ceiling.

Chris appears unfazed by it all but Ayo is increasingly concerned. _What did they do to these children here?_

LARA (V.O.)  
(over Chris' radio)  
It's Lara, you copy?

He pulls the radio from his hip.

CHRIS  
We're four levels down. Any signs? 

LARA (V.O.)  
We have the Soldier. On route to the infirmary.

CHRIS  
Roger that. Chris out.

He clips the radio back on his hip.

AYO  
How do we get to the infirmary?

 CHRIS  
We're not going there.

AYO  
But they have Barnes?

CHRIS  
And if they had Nat they'd've said so. Which means we keep looking.

Chris opens the door to a stairwell at the end of the hall while Ayo takes one last peek through a window into a cell.

But this time she sees a form -- a body lying slumped on the floor, facing the back wall.

AYO  
There is someone in here.

 

**INT. INFIRMARY - DAY**

Bucky sits on a dusty medical bed while Lara unwraps his makeshift bandage.

The fluorescents overhead flicker like they haven't been turned on in ages.

Irina sets the vodka down beside Bucky then rifles through cabinets behind him, searching for supplies.

LARA  
I always thought the great Winter Soldier was infallible. I used to be so frightened every time I saw the Hydra helicopter outside. I knew it was you they were bringing. 

IRINA  
Remember how they'd line us up in the training room so he could kick our asses one by one?

Lara circles around to check his back. She bends down, brow furrowed. Not good. Irina passes bandages and tools to Lara.

LARA  
When I was 12 they sent me on an assignment with you. I was bait for the target. After it was all over, we took the train out of China. At one of the stops, you left. I didn't know where you went. When you came back, you gave me chocolate. You never said a word to me the entire mission but you bought me chocolate. First time I'd ever had it.

Bucky holds his hands in front of his face. His flesh hand trembles but his metal is still.

LARA  
The next time you came to train us, you didn't remember me.

He takes the vodka and douses his metal fingers, then his stomach. Alcohol drips on the floor. He sets the bottle down.

IRINA  
Hey, I said you could take a sip not --

Bucky digs two vibranium fingers into his wound. Grits his teeth. Pulls out the bullet, intact, and drops it beside him.

None of these people are squeamish and they've all felt their share of pain, so nobody says a word.

Irina just shakes her head, picks up the bottle and gulps.

 

**INT. RED ROOM - BASEMENT HALLWAY - CELL - DAY**

The steel door CREAKS as Chris slowly opens it, riffle at the ready.

CHRIS  
Stay there.

Ayo waits by the doorway. Chris clicks a flashlight attached to his shirt pocket and it shines over a woman's body.

He uses the tip of the barrel to slide her brown hair away from her face.

AYO  
Do you know her?

He looks back at the door.

CHRIS  
Yeah, it's Vera --

In a split second Vera's hand SWIPES his ankle out from under him, throwing him off balance. Her other hand catches the gun, pulls it back, then RAMS the stock into his stomach.

She flips up onto her feet and attacks Chris.

Ayo leaps in to help but Vera slips past her, out the door.

 

**INT. RED ROOM - STAIRWELL - DAY**

Vera dives up the stairs. It's dark, only a dim light from the door at the very top, some four stories above. The grated metal steps CLANG under her feet.

Chris barges after her, aims, FIRES. The bullet ricochets off steel and punctures the wall. Vera ducks but keeps climbing.

AYO  
Careful!

Chris and Ayo chase Vera, catching up to her a couple floors higher but it's nearly dark.

Ayo plucks a FLARE from her jacket, lights it and tosses it below. The red glow, sparks, and smoke fill the scene.

SILHOUETTES of legs and arms spiraling as the trio battles on the stairs.

Ayo swings over the rail ahead of Vera and SMACKS her in the chest. Vera rolls halfway down a flight of steps.

Vera has to fight for every step closer to the surface.

 

**INT. RED ROOM - BASEMENT PRACTICE ROOM - DAY**

Irina, Lara, and Bucky pass through a wide training room with two boxing rings and a set of bleachers on one side. The only windows are high near the roof. They're one level deep.

None of them spot the figure waiting in the shadows of the steel scaffolding on the ceiling.

IRINA  
There's only one door in or out of the Control Room. We can't go in there without a plan. 

LARA  
Oh, and did your plan earlier involve half a liter of vodka?

Lara glares at her but Irina averts her eyes. That stung.

BUCKY  
Irina's right. Nat's not stupid. I'm sure she has an exit strategy. But that doesn't mean we can rush in blind.

 

All of a sudden, Anya GLIDES down from the ceiling like a spider on silk and crash lands on Bucky's back, knocking him down.

She rolls over the floor, disconnects the GRAPPLING HOOK from her cuff and launches herself at Lara.

Lara dives for the still dangling wire and SWINGS over the ropes onto the boxing ring.

Anya jumps over the ropes and Lara attacks.

This is what it must have been like years ago. Girls training against each other to be the best. But this time it's life or death.

Irina pulls out a PISTOL and aims but the two women are moving too fast to safely shoot.

Anya reaches low and manages to shoot the Widow's Bite. Electricity ZAPS Lara's leg. She rolls off the edge of the ring, landing face down on the floor.

Anya jumps down, about to jab Lara with another sting when Irina comes to the rescue.

 

**EXT. RED ROOM - COMPOUND - DAY**

Vera bursts through the exterior door out onto the snow.

She heads deeper into the valley and the back of the complex toward the helicopter pad.

Chris and Ayo chase Vera across deep drifts until the snow thins out over the concrete.

Chris pauses to aim his rifle.

CHRIS  
I've got her. 

AYO  
Not yet!

Ayo runs out in front, blocking his view.

On open ground Ayo is fast. She hurtles forward and TACKLES Vera, taking her by surprise with furious kicks and strikes.

All around them the RADAR DISHES rise up to the sky.

Vera's no match for the Wakandan. She struggles to stay upright. Ayo is relentless, a second wave of energy in the cold air.

At last Vera falls on her back, hands up. Surrender.

Chris practically shoves Ayo aside to point the rifle at Vera.

Everyone's huffing and puffing, sweating through their coats.

VERA  
Are you expecting me to beg? 

CHRIS  
I expect you to shut up!

Ayo puts a hand on his shoulder.

AYO  
Don't do this. It is a mistake. Believe me.

CHRIS  
Stay out of it! It's not your problem.

He jerks his shoulder away. Steadies his aim again.

AYO  
How many?

Vera's skeptical, glances at Ayo. Chris doesn't take his eyes off Vera.

AYO  
How many? 

CHRIS  
What are you on about, lady? 

AYO  
What is it now? Eight? Eight of you left?

Chris falters. The gun tips down a centimeter. He takes a breath.

CHRIS  
Goddamnit... It's seven. I won't be the one who makes it six.

Vera looks to Chris, lowers her hands. He aims once more, but this time without the anger in his eyes.

CHRIS  
Get up.

A sudden SHIFT. The concrete below them GROANS and begins to split along a fault line in the middle of the big "H."

The ground is, in fact, two giant retractable DOORS sliding apart revealing an underground bunker.

The dividing line is just beyond Vera's head. She looks up to see Chris's eyes go wide. His jaw drops along with his aim.

When she rolls her head around she sees

THE WEAPONS STOCKPILE

Sunlight seeps over hundreds of tall, skinny ROCKETS, each paired with a launcher and standing at attention in neat rows.

After a moment of shock Vera scrambles to her feet and all three of them bolt as fast as possible toward the mansion as the doors spread wide.

 

**INT. RED ROOM - CONTROL ROOM - DAY**

Belova presses a button and metal shutters along the wall raise up revealing a window overlooking the massive basement storage room filled with row upon row of MISSILES.

BELOVA  
A prime place to hide a weapons stockpile, wouldn't you think? Only the highest-ranking Soviet officials were trusted with this secret and no outsider would ever suspect such a thing from a girls' ballet academy. And if any infiltrator discovered the truth, well, who could get past twenty-eight of the deadliest assassins in the world?

 NATASHA  
Shows how far you've fallen. You use to be one of the trusted few. Now you're forgotten.

Belova frowns, rolls toward the control board.

BELOVA  
No one expects honestly from a spy, spiderling. But you are not wrong.

A green-on-black screen flashes a MAP of Western Russia. Half a dozen moving DOTS indicate aircraft targets.

BELOVA  
I was proud of the work I did here. Until some uniformed sycophant decided I was no longer an asset but a burden on foreign relations. I gave my life to the Red Room, the KGB, both as a student and a teacher. And now they repay my dedication by taking my final years! Locked up until I wasted away. They won't get that luxury!

The screen loads the words "READY FOR LAUNCH: CODE REQUIRED" in Russian. A cursor blinks.

BELOVA  
Enough waiting. The code.

Natasha keeps her mouth shut.

BELOVA  
The code, girl!

NATASHA  
Twenty-one. Zero one. Nineteen. Fourty-five.

Belova smiles as she types the digits.

BELOVA  
Ah, I see now. Not the birth of James Barnes but of the Winter Soldier. Fitting.

Belova smiles as the numbers scroll across the screen. Then her smile fades as the dots on the map disappear. "SELF DESTRUCT SEQUENCE INITIATED."

BELOVA  
What did you do!?

Now it's Natasha turn to smile.

Belova rolls to the chair. Aims the revolver with a wobbly hand.

NATASHA  
Nah-ah-ah. Not this time, Belova.

BELOVA  
You did this. You hacked the computers all those years ago. You knew what would happen this entire time! 

NATASHA  
No, not until recently. That part of your plan worked. But if I'm going to stop those bombs from blowing us from here to eternity I can't do it strapped in this thing.

In a huff, Belova releases the restraints, her gun still aimed at Natasha.

Natasha gets down, rubs her wrists, taking her sweet time.

BELOVA  
Well, get to it!

She leans in front of the computer screen, reading the countdown clock. Belova rolls up behind her.

NATASHA  
See, I didn't just hack the computer. I re-wrote the entire launch software. There's no way anyone could stop it. Not in time. Not even me. I made sure of that. If it could be halted or dismantled, don't you think the government would have done it years ago? Why else would they leave an arsenal like this to rot? You're a fool, old woman.

Natasha BACK KICKS Belova's wheelchair. It slams into the wall.

Nat nab a hand-held RADIO off the desk. Races out of the bunker.

POP. POP. POP. The bullets miss. Belova SCREAMS.

 

**INT. RED ROOM - BASEMENT PRACTICE ROOM - DAY**

Anya jabs at Irina but she blocks, twists, pins Anya's neck in a headlock. She pushes Anya onto her back on the floor.

LARA  
Irina!

Irina's head jolts up at the sound of her wife's voice.

Anya takes the chance to swing up her legs and wrap Irina's face with her thighs.

She rolls Irina over, face down. A SPIKE extends out from one of the Widow's Bite slots and she jams it into Irina's ankle.

Irina WAILS in agony.

Bucky comes up from behind and captures Anya by her hair, THROWING her back.

Lara rushes to Irina's aid.

Anya slides to a stop. Whips out a SHOCK STICK attached to her thigh. It lights up as she twirls it.

Bucky marches over to her, careful to only block with his metal arm.

The stick BUZZES and SPARKS with each hit. He winces but keeps fighting until he grabs the weapon and crushes it between his fingers.

He then lifts her into the air by the front of her suit. His right arm clutches his side, rage fueling him through the pain.

ANYA  
What the hell did Hydra do to you?

The building RUMBLES. Everyone looks in different directions.

Fear streaks across Anya's face. She flings her legs up and KICKS Bucky in the stomach.

He reels over, gasping, dropping the Widow. She escapes out the back door.

Bucky's about to chase after her --

NATASHA (V.O.)  
(on the radio)  
Anybody read me?!

He turns back to the women. Grabs the radio on Lara's hip.

BUCKY  
Natasha!

 

**INT. RED ROOM - BASEMENT HALLWAY/BASEMENT PRACTICE ROOM ROOM - DAY - INTERCUT**

Natasha, radio in hand, barrels down the hallway away from the Control Room.

NATASHA  
Barnes? Did you find the others? 

BUCKY  
We have casualties. 

NATASHA  
Look, you've got about five minutes to get topside before this whole place caves it. Find everyone you can and get them to the western ridge. Remember where I showed you? 

BUCKY  
God, Nat. You could have told me! 

NATASHA  
There wasn't time.

BUCKY  
Anya's on her way. Where are you? 

NATASHA  
Don't worry about me. 

BUCKY  
No, I'm not leaving without you. 

NATASHA  
I told you, get out of here! 

BUCKY  
Natasha, please! You were the only choice I made for myself in sixty years and I gave it up. I gave _you_  up! I can't do that again. Let me make this choice now. Tell me where to find you.

 

**INT. RED ROOM - BASEMENT HALLWAY - DAY**

Natasha slows, listening to his words. When she looks up, Anya is waiting for her at the other end of the hall.

NATASHA  
I'll meet you on the other side, James. I promise.

She tosses the radio behind her.

 

**INT. BASEMENT TRAINING ROOM - DAY**

Bucky looks down at the radio. Static.

BUCKY  
Natasha? Nat -- !

Lara places a gentle hand on his arm.

LARA  
She can't walk without help.

 

**INT. RED ROOM - BASEMENT - DAY**

Belova, furious, wheels as fast as her weak little arms can take her through a passageway to a manually operated elevator.

She loads in, pulls a lever. The elevator ascends slowly.

 

**INT. RED ROOM - BASEMENT HALLWAY - DAY**

Nat and Anya stare each other down. Nat's hands form into fists.

Anya moves in first, her cuffs glowing.

But instead of meeting her, Nat turns tail and runs in the opposite direction.

Anya follows, firing electric BOLTS. Nat dodges by zigzagging side to side.

Natasha detaches something from her belt, turns and SMASHES it on the ground. Iridescent LIQUID splashes everywhere.

A stray electric spark IGNITES the oil in a WOOSH.

Anya halts in her tracks then LAUNCHES through the flames.

AHEAD

Nat releases a mini-sticky GRENADE from her belt. Tosses it up to the ceiling.

It DETONATES with a small explosion but Anya manages to SLIDE across the tile at the last second, still in pursuit while the ceiling collapses behind her.

FURTHER AHEAD

Nat grabs another trick from her belt with both hands.

She spins around and whips two ends of a TRIPWIRE to each side. The hooks grip the walls, spanning the width of the hall.

Nat turns a corner as Anya speeds up.

ANYA  
Stop running, Natasha!

She smacks into the wire, TUMBLING head over tail. She lands on her back, moaning.

In her UPSIDE DOWN POV she watches Natasha saunter up in front of her. Nat bends her knee and flicks her ankle.

A short KNIFE extends from her boot heel with a CLICK.

Anya comes to her senses, rolls over and hops to her feet.

They're at it again, this time with Natasha lashing her bladed boot at Anya's face. Anya blocks with her cuffs.

NATASHA  
Those weren't made for you. If they were you'd know --

She holds her arm out and fires but... nothing comes out. Anya pauses, baffled, examines her cuff.

NATASHA  
\-- there's a finite number of charges!

Nat gut punches her. Taps her heel down on the tile, retracting the blade and darts off.

 

**INT. RED ROOM - CONTROL ROOM - DAY**

The countdown on the monochrome screen BEEPS 10. 9. 8. 7.

 

**EXT. RED ROOM COMPOUND - DAY**

Vera, Chris, and Ayo sprint away from the compound as fast as possible.

Chris ditches the gun and they dive into a snowbank when the bombs EXPLODE in quick succession, rattling the valley.

The concrete surrounding the launch bay CRUMBLES, snow from the nearby hill slides down burying part of the dormitories.

The mansion shakes so much that the back half collapses.

ELSEWHERE

Lara and Bucky pull Irina from a steel basement hatch in the ground just in time. Everything QUAKES.

Bucky shields the women as snow and ash cover his back.

 

**INT. RED ROOM - BASEMENT PRACTICE ROOM - DAY**

Inside, the building SHUDDERS, throwing both Nat and Anya to the ground.

The roof CRACKS. Walls start to BUCKLE. Lights flash and bulbs BURST, spraying sparks. A race against time.

Natasha scrambles to her feet but Anya shoots a grappling hook at Nat's leg, YANKING her down and REELING her in.

Nat pushes herself up to her knees when Anya takes the rope and WRAPS it around Nat's neck.

Now the far side of the training room is CAVING IN.

The steel scaffolding SCREECHES as the girders bend and snap.

Natasha digs her fingers under the wire, struggling to breathe.

Anya SQUEEZES tighter.

Nat's hand fumbles for Anya's wrist. Finds a slot on the cuff. Presses a BUTTON.

Green GAS spurts from the cuff right into Anya's face.

She drops the rope, GAGGING.

Natasha scurries away toward the exit.

Behind her the floor CRUMBLES, dropping to the level below, taking the ceiling -- and Anya -- along with it.

Nat dives for the door but the splitting concrete catches up to her, breaking off in one big chunk.

She loses her balance and rolls down to

THE LEVEL BELOW

Natasha coughs as the dust clears.

A few feet away, Anya lays face down, arms out, crushed by steel and debris.

Nat crawls to her. Unhooks the cuffs from her wrists.

 

ANYA  
(wheezing)  
Save her, please. You must know that everything I did was for her.

Anya's body goes still.

Natasha stands up. Snaps the cuffs to her own arms.

 

**INT. RED ROOM - MANSION - DAY**

Belova struggles to navigate her wheelchair over the cracked and crumbling floor.

Daylight drifting in from broken gaps in the roof illuminates spots here and there.

She hears FOOTSTEPS in the shadows behind her. She raises her gun but her feeble hand shakes too much to aim.

 

**EXT. RED ROOM - WESTERN RIDGE - DAY**

Somehow, the survivors make it to the western ridge - a high clearing overlooking the forest and the destroyed complex below.

They gaze across at the shocking sight of smoking, burningrubble against white snow.

Bucky starts stumbling back down the hill but Chris stops him.

CHRIS  
Whoa, whoa. You're in no shape to be going anywhere. She's tough. She'll make it. Just wait.

 

**INT. RED ROOM MANSION - FOYER - DAY**

Natasha carries Belova into the collapsed foyer.

The tile floor is shattered. Beams split. The entire back of the house tips at an angle. Entry door blasted off. Only the front facade of the house remains upright.

A ramp made of broken boards and plaster leads to a column of SUNLIGHT spilling in from the entrance.

The hazy glow illuminates the two women like battered angels.

BELOVA  
I was wrong about you, spiderling. You were the best of the best. The culmination of a lifetime of work. Trained to be cruel, ruthless. I suppose that is my ultimate failure. No matter what I taught you, deep inside, you are soft-hearted. Too gentle. Look at you. You would have died trying to save an old woman after all I've done.

NATASHA  
Who said anything about saving you?

Natasha unceremoniously drops the woman and climbs over rubble.

She lifts debris and tosses it aside, clearing a path to the doorway.

NATASHA  
You know, Marina and I had a little chat before she killed herself. Before you drove her to that.

Belova rolls on her back, holds herself up on her forearms.

NATASHA  
She asked if I'd had a choice between the Red Room or living my own life, what would I have chosen? The scary thing is -- there was a time when I would have picked the former.

Natasha pulls the revolver from her belt. Looks it over as she glides closer and closer to the headmistress.

Belova scoots back on her hands, laboring to make space between her and the encroaching Widow.

NATASHA  
See, you were right the first time. I am not a nice person. I've done bad things. Even when I didn't have to. Even when there was no one guiding my hand. You didn't make me this way. I did.

Natasha kneels down before the fragile old woman. Belova sobs in fear.

BELOVA  
Please, have pity!

Natasha grabs the woman by her shoulder and shakes her.

NATASHA  
It's over! Don't you see? No one is coming to help you. The rest are dead. And you no longer matter to anyone!

She shoves Belova down and stands up.

She methodically unloads the remaining bullets from the gun, pocketing each -- save one.

NATASHA  
I'm giving you an option. That's more than you ever gave any of us.

She aims at Belova's face. The woman whimpers.

NATASHA  
One shot. You can either get your revenge or you can spare yourself the agony of starvation. Your choice.

The revolver spins around her index finger and she offers the handle to Belova.

The woman doesn't take it so Nat tosses it at her feet.

Without a second glance, Natasha turns to leave.

 

**EXT. RED ROOM - WESTERN RIDGE - DAY**

Far away on the hill, Bucky and the survivors watch the scene.

Smoke billows in the sky but otherwise, all is still and silent.

BUCKY  
I can't take it. I'm going back in. 

CHRIS  
Wait. 

Chris' outstretched arm stops him as they spy movement at the mansion doorway.

 

**EXT. RED ROOM MANSION - DAY**

All eyes on the wooden door frame.

Natasha's face rises into view as she climbs over debris to freedom.

First, a crown of red hair,

then stoic eyes,

bruised neck,

shoulders, and

BAM - a single gunshot.

She freezes.

 

**EXT. RED ROOM - WESTERN RIDGE - DAY**

The sound ECHOES up the hill.

Bucky breaks from Chris' grasp and races toward the mansion.

 

**EXT. RED ROOM - MANSION - DAY**

Natasha rises once again.

Her torso passes through the frame, unharmed.

Her boots carry her across the front steps.

Behind, inside the darkened ruin, Belova lays slumped on the floor.

 

**EXT. RED ROOM - WESTERN RIDGE - DAY**

Bucky meets Natasha halfway down the hill.

Exhausted, she collapses into the snow.

Bucky falls to his knees. Cradles her in his arms, relieved and grateful.

Her eyes angle up to meet his and she kisses him.

Their lips break free when the sound of an AIRCRAFT grabs their attention.

AT THE CREST OF THE HILL

The Wakandan Jet, piloted by Sister Sophia, lowers beside the survivors. The wounded load in first.

Arms around each other, Bucky and Natasha limp uphill. She takes one last long look goodbye.

NATASHA  
Take me home.

**EXT. NATASHA'S APARTMENT BUILDING - DAY**

Back in Prague, Natasha unlocks the door to the building after collecting her mail.

This time she notices Liho the cat is missing.

 

**INT. NATASHA'S APARTMENT - DAY**

Once inside, she tosses the envelopes on the table. Spots the balcony door ajar.

Her eyes narrow. Then she smiles.

 

**EXT. NATASHA'S APARTMENT - BALCONY - DAY**

Natasha steps onto the balcony where Bucky leans on the brick ledge with Liho, purring, curled up in his lap. Metal fingers scratch the cat behind its ears.

NATASHA  
You know, when I said you could visit, I meant visit _me_.

She scoops up the feline who MEWS in response.

NATASHA  
 _Not_ my cat. Isn't that right, Liho?

She settles down on the other side of the balcony. Liho readjusts to her new spot and purrs.

Nat and Bucky both smile, staring out at the sunset over the city, peaceful for now.

**Author's Note:**

> Thanks for reading! Comments appreciated


End file.
